As the first two books I wrote, (published on the same day) were on the 18th and 19th century theatre, I approached this book prepared to learn from it and to enjoy it - but sadly I was disappointed. The author has chosen an unhackneyed period for her mystery, but there is so much more she could have put in.
An actress at the Theatre Royal, Covent Garden is murdered in 1760: a wealthy young man from the country arrested. It is up to his tutor (the only likeable character) to save him, and of course he does, and the real killer is unmasked. Care has been taken in some respects. The term "detection" is not used - rightly, as it did not become current until 1793. The description of pupil and tutor arriving by coach at the Bull in Bishopsgate seems to echo Disraeli's similar account. The theatre is called Theatre Royal, Covent Garden, but up until 1761 was "Theatre Royal in Covent Garden". The theatre manager and lessee is one Vine, and it seems a pity that the real life manager, the cat-loving John Rich, who died in 1761, when his son-in-law James Beard, took over, was not used, especially as he was a brilliant pantomimist. Odd little touches are included correctly - the beggars, the small boys stealing hats, but I would have preferred more descriptions of backstage, streets, dress and the like. Mrs. Teresa Cornely's famous routs are mentioned; the tutor is lent a ticket, but no mention is made that the lender must sign the friend's name thereon. Described as of a shady character, no mention is made of her previous career as a singer, the Pomepiaieti, and she doesn't even have a line in this story. The famous "blind beak" appears in only one short scene, when the pupil is charged. If we consider one of the greatest historical mystery writers, like Lillian de la Torre, or period novelists like Georgette Heyer we find a wealth of contemporary detail. I hope this may encourage Miss March to try again and achieve more.
