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me2brett's review against another edition
3.0
As I remarked (I think) in my review for Enter a Murderer, it's fun to read Marsh writing about theatre people because she was one. That this story is set in New Zealand, Marsh's home, doubles the fun of seeing someone write about their world(s).
The mystery is fun and the plot twists entertaining. I particularly enjoyed Alleyn's inner monologue when dealing with the local police force, reflecting on the sometimes awkward relationship between metropole and commonwealth.
The mystery is fun and the plot twists entertaining. I particularly enjoyed Alleyn's inner monologue when dealing with the local police force, reflecting on the sometimes awkward relationship between metropole and commonwealth.
sadiqua_fatima's review
mysterious
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? No
3.5
julia_may's review
2.0
This was just okay. This is one of her theatre based novels so there's a lot of theatrical jargon and technical information about the backstage operations. Honestly, I did not enjoy it. This edition was also lacking the map of the theatre, making it even harder to follow who went where when. I also felt like there were too many characters for a locked room style of mystery, some of them too similar to each other, in the "disreputable young man* category. On the positive side, I didn't guess who did it and there was so much variety with the characters that none annoyed me.
What I really didn't appreciate was all the references to Maoris as "savages". In this regard, the book really hasn't aged well.
Edit: the more I think about this book, the less I like it. Downgraded to 2 stars.
What I really didn't appreciate was all the references to Maoris as "savages". In this regard, the book really hasn't aged well.
Edit: the more I think about this book, the less I like it. Downgraded to 2 stars.
cleheny's review against another edition
3.0
Alleyn is on vacation (and apparently recuperating from an on-duty injury) in New Zealand, where he falls in with a traveling theater company headlined by the famous Caroline Dacres. Her husband, Alfred ("Pooh") runs a production company that appears to mount touring productions as well as ones in the West End. Alleyn knows one of the actors--an older character actress, Susan Max, who previously appeared in Enter a Murderer. When Alfred is murdered before the troupe, stagehands, and guests to a party, Alleyn partners with the local police (who know of, and impressed by, him) to solve the mystery.
As usual, Marsh's characterization skills are on display, as is her love for the theater and those who make their living by it. I'm glad of that because I wasn't wild about the mystery itself.
The murder isn't all that clever. The biggest problem with the mystery is that the murderer goes to a lot of trouble to stage a spectacular murder, presumably with an eye to making it seem like a terrible accident, but the plan doesn't make sense.
I also lost a little respect for Alleyn in this, a combination of two things. First, with Nigel Bathgate absent, Alleyn is left to think and speak in a way that sounds somewhat unsophisticated, and, therefore, false. Second, he becomes infatuated with Caroline Dacres, who--until a key scene towards the end of the novel--I found to be arch and self-absorbed. I guess we're supposed to think that Alleyn saw deeper, but there aren't many clues to that.
The solution also depends on the layout of the theater and its yard. Marsh doesn't provide a map (like Christie would helpfully do on occasion), so the reader has to be able to build it in their head. Unfortunately, I'm not good at doing that. So the detailed description Marsh gives of the location meant little to me, and the solution seemed to come out of the blue (what's particularly frustrating is that Marsh specifically has Alleyn draw himself a map--why couldn't she have done that for her poor readers?).
As usual, Marsh's characterization skills are on display, as is her love for the theater and those who make their living by it. I'm glad of that because I wasn't wild about the mystery itself.
The murder isn't all that clever. The biggest problem with the mystery is that the murderer goes to a lot of trouble to stage a spectacular murder, presumably with an eye to making it seem like a terrible accident, but the plan doesn't make sense.
Spoiler
The murderer removes the counterweight to a heavy jeroboam of champagne suspended above the stage, which is supposed to drop down when Caroline, whose birthday it is, ceremoniously cuts a cord. When Alleyn investigates the failed mechanism, he finds an obviously-too-light counterweight and an object proving that someone who saw the murder tampered with the scene. But it turns out that the person who tampered with the scene isn't the killer, and was seeking to protect someone they believed would be falsely accused. It turns out that there was no counterweight at all when the murder occurred. But, if not for the intervention of this third party, it would have been manifestly clear that the murder was no accident at all because the murderer doesn't seem to have had any plan to mislead the police.I also lost a little respect for Alleyn in this, a combination of two things. First, with Nigel Bathgate absent, Alleyn is left to think and speak in a way that sounds somewhat unsophisticated, and, therefore, false. Second, he becomes infatuated with Caroline Dacres, who--until a key scene towards the end of the novel--I found to be arch and self-absorbed. I guess we're supposed to think that Alleyn saw deeper, but there aren't many clues to that.
The solution also depends on the layout of the theater and its yard. Marsh doesn't provide a map (like Christie would helpfully do on occasion), so the reader has to be able to build it in their head. Unfortunately, I'm not good at doing that. So the detailed description Marsh gives of the location meant little to me, and the solution seemed to come out of the blue (what's particularly frustrating is that Marsh specifically has Alleyn draw himself a map--why couldn't she have done that for her poor readers?).
bridget_r's review against another edition
3.0
Some nice descriptions of nature. Rather racist, while claiming there is no racism in New Zealand.
1mpossiblealice's review against another edition
3.0
I enjoyed elements of this, the method of murder was innovative and new, and some of the scenes/characters were interesting. But I massively preferred Enter a Murderer which also has a theatre setting. Alleyn has no-one to talk to whereas he usually has Fox and Nigel, and there are letters he writes to Fox but I don't think that works in the same way.
It's fine, and I will keep reading, but so far the first two in the series have been my favourites.
It's fine, and I will keep reading, but so far the first two in the series have been my favourites.
lynneelue's review
4.0
This was a delightful, chatty little mystery book, written by Ngaio Marsh, who, in my impression, must be New Zealand's version of frequent-writing and famous Agatha Christie. The book had English and New Zealand characters, so I got to hear their slang expressions (slang from 1937, ha!) as well as the funny inner thoughts of the English narrator reacting to the oddities of his New Zealand peers. The writing style felt very laid back, like I was watching a 1940s movie; I practically read everything in my head in a transatlantic accent. The book was set in a theatre, which was very new for me, but apparently a very common setting for this author. I liked how the progression through the plot laid everything out for the reader as the detectives figured things out so that when the big reveal happened it wasn't so confoundingly unfollowable.
kate_can's review against another edition
adventurous
lighthearted
mysterious
medium-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? N/A
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.5
Inspector Roderick Alleyn is on holiday in New Zealand when he gets caught up with a theatre group and a murder, involving a mistimed opening of a jeroboam of champagne. This combines Ngaio Marsh’s interests perfectly, allowing her to give her chapters such titles as Prologue in a Train, Intermezzo, Duologue, and Business with Props. Written in 1937, it is dated in language and attitude, although it was doubtless considered progressive at the time.
Detectives, witnesses and suspects have a lot in common with actors as they rehearse stories, play parts and deliver lines, whereas Alleyn is straightforward and direct with a self-deprecating sense of humour. When he lists the suspects, their possible motives and alibis, he draws up a chart which is included in the chapter Entr’acte to assist the reader as much as himself – naturally, everybody has one.
There is snobbery towards people’s age, size, class and accent, although most prejudice, however, occurs towards the Maori people, as exemplified through the character of Dr Rangi Te Pokiha. A considerably hateful comedian describes Te Pokiha as “the black quack” and “the light-brown medico”, and when Te Pokiha retaliates (he has also been called silly, obviously wrong, and a liar), we are told, “The whites of his eyes seemed to become more noticeable and his heavy brows came together… [His] warm voice thickened. His lips coarsened into a sort of snarl. He showed his teeth like a dog… the odd twenty per cent of pure savage.” One suspect asserts, “There is no colour bar in this country,” but people still use the expression ‘a white man’ to denote a person of good character. Alleyn describes the country and the people with an anthropological aspect that is offensive to modern readers.
The plot is well-crafted, some of the characterisation and theatrical tropes are fun, and the Kiwi setting is original, but the inherent racism, sexism and body-shaming are problematic. Crime novels may remain popular, but fortunately times have changed.
Content Warnings
Moderate: Body shaming, Racism, Sexism, and Racial slurs
quietjenn's review against another edition
3.0
Somewhat surprised to get another theater-set mystery, so soon after the last, but I guess I really shouldn't be given Marsh's personal history. This one felt a little muddled and I wish that some of the characters had been a little more distinct. But, I did really like that it was New Zealand set and there was a peek at transitional/Maori culture - although a very, of it's time Colonial peek, which would probably raise some objections.
astrangerhere's review against another edition
4.0
The theatrical detail was amazing. I was reminded rather strongly of PD James' Ispector Dalgliesh. There was alot more a picture of what goes on inside Sir Alleyn's head this time around and I ratehr enjoyed it.