The Sidekick

Otter had debuted his West End career performing with a modern dance company and had aptly acquired his stage name in the early days from his graceful dance moves on the stage.  That, however, was not the only reason for his name.  Otter was clearly gay and proudly and loudly carried his gracefulness on stage into real life.  There wasn’t a movement that he made where his hands and other parts of his body did not make an elaborately graceful bend, wave, zigzag, or twirl.   He had a black grandmother of whom he spoke of often with great affection and the combination of genes gave him golden skin, freckles on his nose and cheekbones, and a pile of long golden-brown ringlets at the top of his head that spread in every direction and bounced and danced as fluidly as his body and limbs with every movement.  He always wore a trademark tank-top showcasing his toned, muscular, and lithe body whenever he was working, accessorized with a glittery black cardigan on colder days.

Otter had nowadays moved into acting and backstage production and was today doing the costumes for the stage adaptation of the acclaimed Ealing comedy The Ladykillers at the Gielgud Theatre...