I was at a Whitney Houston tribute concert last night and a play broke out. That’s the headline I wanted to use back in 2017 when I reviewed the touring production of The Bodyguard The Musical at Wharton Center, but honestly, I forgot, so I’m using it today. Opening last night at the Croswell Opera House and running through June 16th, the production is jam-packed with the hits you already know from the movie as well as a half dozen other greatest hits from Houston’s repertoire.
First of all, credit to artistic director Jere Righter for knowing her audience – which was ecstatic by intermission and fully singing and clapping along by the finale dance-along.
Second, credit professional singer/actor Arielle Crosby who fully nails the lead character, pop singer Rachel Marron. WOW! Just, wow. On stage practically the entire evening, she excels at both ballads and large concert-staged numbers but makes the role fully her own. (I have to admit, there is a big shadow of Whitney Houston in the back of your mind throughout the show).
Anjewel Lenoir, who I initially didn’t recognize because she makes her part so unique, plays her jealous sister Nicki. If you’ve seen the movie, you know how that turns out. Her part is increased in the musical and her musical numbers are just as pow-bam-in-your-face as Crosby’s. When they sing together (Run to You) it is musical theater heaven.
Steven Kiss plays Frank Farmer (the Kevin Costner role) and he has big shoes to fill here and does so very well — though the Steve I know comes to life in the finale dance-along. (I recall it being pretty much the same in the tour).
King Brinson is terrific as Whitney Houston’s (I mean Rachel Marron’s) son. The entire rest of the cast sings, dances, play multiple roles, and are truly terrific performing Sarah Nowak’s picture perfect backup singer/dancer choreography. Josh Glover conducts the often on-stage orchestra with special kudos to Jann Battersby after all these years getting a sax solo in a spotlight moment. This entire cast, crew, and orchestra has talent to spare. Conner Raymond performs his ever-efficient stage management and Director/Vocal Director Michael Yuen makes everything click and buzz. He has a firm grasp on this show – what it should look like, how it should move, and where it should barrel along and where you can slow down a bit (this is done on purpose – some scenes are expanded and slowed down just to allow the actors time to breath and change clothes before heading into the next big production number. If I have one complaint about the actual script, there is a sequence in Act 2 of clunky dialogue that has three lines, blackout, three lines, blackout, three lines, blackout, three lines blackout, before finally getting back into groove. There is nothing wrong with this production – that’s bad script-writing.)
The set looks fantastic with its cyberlights, smoke columns, beams of colored light, and projection. There’s a nifty invisible backdrop that flashes different colors throughout and adds to the real-concert feeling. Marty Flake designed the sets, Rachel Slupe did wonders with the light design, Karl Kasischke designed the way way complicated sound and projection design, Sabriyah Davis designed the costumes which gleam and sparkle and change colors and come and go and oh my, what a job here.
But back to Arielle Crosby — that voice. That sound. That relationship to her audience. Go see this show and revel at the talent, but then take a moment to appreciate what Crosby does with her vocals and you’ll be flying on the way out the door. No surprise she got an immediate standing ovation.
Here’s the honest truth – as a theater-goer, I absolutely love this show – both here and when I saw the tour. As a critic, I have to say the material itself (like the movie) isn’t really that good but it keeps you interested and ties together all the elements. You know the stalker who wants to kill Rachel is going to get the bodyguard treatment eventually. You know all the “big moments” from the movie are here (along with the stilted dialogue which even Kevin Coster looked like he was choking on in the movie). But that’s not what this musical is about. It’s about some of the hottest songs in the pop rock repertoire. It’s about an incredible performer making her movie debut then, and an incredible performer creating an exciting stage performance here now. Go. Enjoy. Bring your friends. It’s generally family friendly (although there is some light use of colorful language and adult situations and some kids might be scared by the scary stalker). There were still gasps at one point when something happens that movie lovers will remember but first timers don’t see coming. Credit Michael Yuen for those moments. And two nifty uses of a green stage laser.
Highly Recommended. Don’t hesitate to go see this. Photo, Croswell Opera House.
The Bodyguard continues through June 16th. Tickets at Croswell.org, or 517-264-SHOW. Buy tickets directly ONLY from Croswell. There are no third party authorized sales venues. Buy online at their website or by calling the box office.
Mostly Musical Theatre 
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