"Auntie Lil is delightfully feisty."
--Publishers Weekly
THE MURDER IS A SHOWSTOPPER.
At the high point of the Metropolitan Ballet's production of The Nutcracker, a hanged body swings across center stage. The body belongs to show business hotshot Bobby Morgan, father of the production's child star. There's chaos among the dancers and in the boardroom. The media go wild.
Only octogenarian board member Auntie Lil remains calm, as alert as a cat at a mouse hole, ready to pounce on a killer. But she and her nephew T. S. Hubbert have their work cut out, because it's soon clear that most people thought hanging was too good for Morgan, whose specialty was settling old scores.
Dancers, board members, backstage crew--all had the motive and the opportunity to kill. But only one of them had the nerve. Fast thinking and fancy footwork lead Auntie Lil to the truth--and a pas de deux with a murderer. . . .
"GRAY'S WRITING STYLE IS . . . DELIGHTFUL."
--Associated Press
--Publishers Weekly
THE MURDER IS A SHOWSTOPPER.
At the high point of the Metropolitan Ballet's production of The Nutcracker, a hanged body swings across center stage. The body belongs to show business hotshot Bobby Morgan, father of the production's child star. There's chaos among the dancers and in the boardroom. The media go wild.
Only octogenarian board member Auntie Lil remains calm, as alert as a cat at a mouse hole, ready to pounce on a killer. But she and her nephew T. S. Hubbert have their work cut out, because it's soon clear that most people thought hanging was too good for Morgan, whose specialty was settling old scores.
Dancers, board members, backstage crew--all had the motive and the opportunity to kill. But only one of them had the nerve. Fast thinking and fancy footwork lead Auntie Lil to the truth--and a pas de deux with a murderer. . . .
"GRAY'S WRITING STYLE IS . . . DELIGHTFUL."
--Associated Press
