From Publishers Weekly
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.
Copyright 1996 Reed Business Information, Inc.
--This text refers to the
Hardcover
edition.
From Library Journal
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.
Copyright 1996 Reed Business Information, Inc.
--This text refers to an alternate
Audio Cassette
edition.
