Publisher's Weekly Review
For actor Charles Paris, life is wonderful for a change: Frances, his wife, has let him back into her apartment (and bed), and he has landed the splendid role of Sir Toby Belch in Twelfth Night. Of course, none of this can last. At a publicity party, the director succumbs to abdominal cramps severe enough to hospitalize him. Enter Alexandru Radulescu, an avant-garde director who says Shakespeare "writes only about sex." As the provocative, spectacle-loving Radulescu slices and dices the comedy to shreds, Charles, who clings to a traditional interpretation, becomes increasingly resented by his colleagues, all of whom appear to be turning into Radulescu groupies. When, following a group dinner, another member of the company falls sufficiently ill to leave the show, Charles suspects foul play. While he sizes up who might do what to whom (and how many additional lines they would finagle if they did it), someone else prowls behind the scenes to stage yet another incident, this one fatal. For followers of this series, this is classic Charles Paris, with the interminably struggling actor again giving us Brett's (Singled Out, 1995, etc.) wry and entertaining view of the theater. The story is tightly wrapped around Twelfth Night, and readers who are familiar with the play will surely derive more pleasure from it than those who aren't. (Jan.) (c) Copyright PWxyz, LLC. All rights reserved
Booklist Review
One of today's most literate and witty mystery writers, Brett delivers yet another winning entry in his delightfully droll Charles Paris series. After a long, dry spell of soul-dampening unemployment and too much Bell's whiskey, the hapless actor is thrilled to be playing Sir Toby Belch in Shakespeare's Twelfth Night a lifelong ambition that soon turns to nightmare when a replacement director decides to inflict a bizarre sexual interpretation on the Bard's comedy. Charles' objections to this horrifying turn of events meet with hostility from the rest of the cast, and he quickly finds himself ostracized. Then the attractive young starlet who's playing the lead collapses and dies. It suddenly occurs to Charles that he's in the middle of a murder case--and he may well be the next victim! The lugubrious but quick-witted Paris is in rollicking good form in this thoroughly delightful romp. A must for actor wanna-bes, mystery buffs, and Shakespeare fans. --Emily Melton
Kirkus Review
Shabby actor-sleuth Charles Paris feels a bit cheerier than usual as this 16th outing begins (A Reconstructed Corpse, 1994, etc.). He's gotten a great Shakespearean role at least--Sir Toby Belch--even if this Twelfth Night is just a sturdy, conventional, touring production. Also, he's living again with estranged wife Frances, even drinking less. Midway through rehearsals, however, things turn grim. The director falls ill (poisoned?) and is replaced by Romanian ``boy wonder'' Alexandru Radulescu--who, to Charles's horror, adds sitar music, casts a tubby West Indian as Sir Andrew Augecheek, and along with some superb visual ideas, adds a slew of radical/trendy gimmicks. (``You will have a `Guns and Roses' T-shirt under your doublet. That would certainly offend Malvolio.'') Then the Viola, a onetime TV star, dies from a lethal injection during the rainy dress rehearsal at an outdoor arts festival. And soon Charles is sleuthing (and boozing) again, convinced that there's been a murderous conspiracy to turn the show into the ultimate gender-bender. Rather feebly plotted, this is hardly prime Brett--but for unpretentious readability he's hard to beat, especially with a few choice send-ups (the ``festival'' racket, politically correct ``artspeak'') and the endearing ups and downs of poor old Charles. (Mystery Guild alternate selection)
Library Journal Review
Charles Paris, last seen in An Amateur Corpse (Audio Reviews, LJ 7/94), is an aging and rather undistinguished actor. Recently, the downward trend of his life has taken a turn for the better: he and his ex-wife are back together, and he has a good role in Twelfth Night with a touring company. Suddenly, the director falls ill and is replaced by an avant-garde Romanian, Alexandru Radulescu, who is obsessed with sexual motifs. Paris and Radulescu can barely stand each other when, suddenly, members of the cast start to die. Brett gives us a lively and candid view of the theater world with all its pettiness, massive egos, and posturing. As reader, he does a creditable job of bringing this world to life. The conflict between the traditional Paris and the ground-breaking Radulescu is especially well done, the latter being read with much energy and passion. Still, the murders and their resolution seem almost an afterthought to the stage world. Nevertheless, thespians and fans of Brett will appreciate this work. For larger popular collections.Michael T. Fein, Catawba Valley Community Coll., Hickory, N.C. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
