Amazon.com Review
Things actually seem to be looking up for that chronically tormented Elizabethan theater company known as Westfield's Men. As the curtain rises on Edward Marston's exuberant
The Counterfeit Crank, the cast has welcomed into their midst an oddly secretive but nonetheless talented new playwright, who brings with him a rousing historical drama,
Caesar's Fall. Meanwhile, Alexander Marwood, the gloomy, henpecked landlord of the Queen's Head, that London inn where Westfield's Men are begrudgingly permitted to perform, has gone to visit his ailing brother (whom he hopes will remember him in his will), leaving the hostelry in the care of a more appreciative and exuberant manager. "Fortune has smiled on us at last," exults Westfield's veteran dramatist, Edmund Hoode.
Ah, but those words have hardly been uttered before a plague of gambling debts spreads among the actors--the result of their engagement with beguiling card sharp Philomen Lavery--and Hoode's health declines precipitously, dashing any chance of his completing a promised lithesome comedy. Adding insult to injury, the troupe's costumes are pilfered and its ticket proceeds pinched. Though Nicholas Bracewell, Westfield's book holder and necessarily practiced troubleshooter, hopes to rout all these woes, he's over-stretched, having also volunteered to aid a fetching, naïve young con artist who has survived abduction by the lecherous operators of a workhouse for the poor, but whose Welsh boyfriend has now gone missing. Deceived by people he saw as friends, and pursued by some of the very malefactors he aims to vanquish, Bracewell must marshal his considerable skills--both as a detective and a thespian--to save his livelihood, not to mention his own life.
British fictionist Marston has created other historical series in recent years, including those about a pair of 11th-century "Domesday" researchers (introduced in The Wolves of Savernake) and about 1850s London Inspector Robert Colbeck (who debuted in The Railway Detective). Yet he owes his popularity most to the Bracewell books, of which The Counterfeit Crank is the 14th (after 2003's The Vagabond Clown). While this novel offers a couple plot twists that are obvious from the outset, and more than one secondary character lacks the nuances essential to believability, there's no sign that Marston's regular cadre of 16th-century entertainers--each more egotistical or eccentric than the last--has been wrung dry of the possibilities for humor and hardship. --J. Kingston Pierce
From Publishers Weekly
Right from the start of British author Marston's clever historical, the 14th entry in his Nicholas Bracewell series (after 2003's
The Vagabond Clown), troubles beset the Westfield Players. Bracewell's sleuthing skills are much needed after playwright Edmund Hoode collapses from "falling sickness," stage carpenter Nathan Curtis and tireman Hugh Wegges lose their purses to a gambler, and gatherer Lucas Peebles is robbed of all the ticket money. The hapless group then suffers the ultimate indignity when their costumes are stolen and they're forced to perform in borrowed outfits "visibly the wrong size, shape, and color." Amid all this distress, a tender romantic interlude between "counterfeit crank" Hywel Rees, an actor of a different sort, and his beloved Dorothea turns tragic when the two are imprisoned in Bridewell Palace, once a royal residence, now a house of ill repute. These intrigues move rapidly with scene changes and subplots reminiscent of an Elizabethan stage play, and lead to a breathtaking finale when Nicholas and company use their stock-in-trade disguises to unmask a fraudulent operation close to home. A handy dramatis personae helps us keep all the names straight in this complex but beguiling tale. FYI:
Marston is the pseudonym of Keith Miles. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
