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The brown word: Death on the Throne @gatehouselondon

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We’re warned at the start of the show with an upbeat number that this is not the usual sort of musical. And it turns out to be just that. But with boundless enthusiasm and energy from its two leads, who deploy a range of voices and breathtaking energy to create a series of voices for puppet characters, a bedtime story becomes a silly oddball tale about four souls stuck in purgatory. With puppets. And various toilet humour references. It’s currently playing at Upstairs At The Gatehouse . The piece starts as a bedtime story. Daddy (Mark Underwood) is about to read a bedtime story for Louise (Sarah Louise Hughes). But her stomach felt funny, and soon, she went to the bathroom. Then, for reasons that seem to only make sense in the confines of the show, they start telling the story of four people who died in unfortunate circumstances in the bathroom. Depicted as puppets, they’re stuck in purgatory as St Peter doesn’t have enough space for each of them in the afterlife. And so begins a puppe...
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Streaming immorality: Is He Musical?

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To coincide with LGBT history month, a digital stream of 'Is He Musical?' is available to stream. A new short musical by Jude Taylor, it covers the secret life of queer friends who partied in 1930s London and is available to stream now until 6 March. Just like the other phrase, "friend of Dorothy," "Is he musical?" is code. After all, it's from a time when the police could arrest you some vaguely defined immorality. The piece doesn't explore why being musical is code for being gay or queer, but a response on Quora from a straight ex-military musical loving man is as good an explanation as any. The respondent suggests that musicals emphasise emotions, which parallels gay men who stereotypically live a flamboyant life.   So with that in mind, the piece is set in London's West End in the 1930s. Lawrence (Barry O'Reilly) arrives on the scene and befriends Wilfred (Teddy Hinde). But the parties and self-indulgent lifestyles can't hide the di...
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