‘Death On The Throne' (directed by Blair Anderson) is a comedic, puppet-based musical that revolves around various characters and famous figures who have all died on the ‘throne' (toilet).
The two leads (Mark Underwood and Sarah Louise Hughes) are particularly impressive as they provide the voices (singing included) for every single character. They swap in and out of a wide array of voices and accents, sometimes having entire discussions with themselves. It's incredibly technically impressive and the show provides an excellent playground for their talent.
Certain aspects added a really fun dynamic; the part of the ensemble in particular. Named the ‘Puppeteers', they both control and act as the puppets themselves throughout the production. It adds a fun dynamic as they're constantly switching in and out of various characters and rushing around the space. There is plenty to watch.
The Musical is accompanied by a live four-piece band, with snappy and attention-grabbing songs (composed by Tobias Künzel) featured throughout. My only gripe, perhaps, would be that the songs do contain a lot of information. Underwood and Hughes sing throughout the show and a lot of the plot is contained within the lyrics; therefore, if you miss any lyrics, you're also missing the plot.
A shoutout has to go to (my particular favourites): the puppets. Designed and built by Louise Nowitzki, the puppets play a starring role throughout the production. They all vary in size, detail and storyline and are, in short, mesmerising to watch.
The overall plot of ‘Death On The Throne' can feel a tad confused at times. There is so much going on at once, with so many characters who all have their own little storylines, and it is quite easy to miss important tidbits of information. Sometimes it can feel tricky to follow who's who and what's what.
Overall, ‘Death On The Throne' is silly, self-aware, and heartwarming to watch. It's a tad chaotic at times but, arguably, that's part of its charm.
Running at ‘Upstairs at the Gatehouse' until Sunday 13th April
Review: Bethany Chandler