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The great Sondheim burst of the 1970’s was a decade of work unequalled by any other Broadway songwriter. [The Bock/Harnick run from “Fiorello” in 1959 through “The Rothschilds” in 1970 may be comparable, but that was their entire output. Sondheim, both before and after the 70’s, is responsible for several more musicals, including arguably three […]
I’ve been plugging away at a pseudonymous mystery series, but I’ve tried to keep a musical project going simultaneously. For the last few years, it’s been an adaptation of “Gilgamesh,” for which I am doing the book and my old Lehman Engel Workshop classmate Lawrence Rush is doing the score. More on that as we […]
My synagogue hosts the recent traditional Purim debate, which in the past has been on the relative merits of hamantaschen vs. latkes. This year, however, they changed the topic to Pastrami on Rye vs. Lox with Bagels. I was proud to represent Team Pastrami. Here are my prepared remarks: I turned 60 this past Sunday, […]
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FIRE MUST BURN has its first review — a star from Kirkus! (And those don’t come easy!) Here it is:
“Finding a wife for an old college friend turns out to be far more dangerous than Iris Sparks ever imagined. Iris had her share of madcap adventures at Newnham College, Cambridge, in the 1930s, but by the ’40s, she’s settled quietly into running The Right Sort Marriage Bureau in London with her partner, Gwen Bainbridge. That is, until the Brigadier, a shadowy figure from her past, demands to use the bureau as cover for a secret government agent who will test her friend Tony Danforth’s loyalty to the Crown. Iris assures the Brigadier that she and Tony were never lovers, so her impartiality in the matter will remain intact. But her immediate dislike of Evelyn Lowle, the agent the Brigadier chooses to pose as Tony’s marital prospect, casts doubt on Iris’ claim that she and Tony are just good friends. A brutal attack on Tony forces Iris to take action, but her ties to the Brigadier prevent her from revealing the truth to Parham, the sharp and dedicated detective superintendent investigating the case. Montclair hits her marks throughout. Her characters are varied and well-rounded, with a combination of strengths and shortcomings that help readers invest in their fate. Her humor leavens the mood without diminishing the seriousness of the threat to the characters’ safety. Both her London narrative and her Cambridge backstory establish a strong sense of place. Most important of all, her puzzle is ingenious, with surprises along the way that mesh beautifully at the end.
A first-rate entry in Montclair’s engaging series.”
We recently had the inaugural table reading for CRIME SCENES, an anthology musical consisting of six short murderous musicals written with composers Angelique Mouyis, Katya Stanislavskaya, Madeline Stone, Dave Hall, Daniel S. Acquisto, and the late Mark Sutton-Smith. Our six performers and our musical director had ten hours of rehearsal time to learn a ton of music and did it brilliantly. We are now cutting out the parts that dragged and will be submitting it soon. (Want to produce it? Contact me!)
I am being featured in the Cloak and Dagger Mystery Bookstore’s newsletter. Find it here.
We have a publishing date and a title for Sparks and Bainbridge #8! FIRE MUST BURN comes out from Severn House on January 6, 2026. The proprietors of The Right Sort Marriage Bureau are summoned to assist British Intelligence in assessing the loyalties of a man moving up the ladder in the Foreign Office, who also happens to be an old Cambridge friend of Iris. Loyalties will be severely tested. And here is the cover design!
Guest Essay in Donis Casey’s “Write Errant” website. Read it here.
My essay “An American Lost in London” is in the Winter, 2024
Mystery Readers Journal, talking about my Sparks and Bainbridge series.
MURDER AT THE WHITE PALACE was voted Favorite Mystery of 2024 by DorothyL! Also made the Best Mystery Lists for Deadly Pleasures, CrimeSpree, and readingreality.net.
The series got a great review on NPR’s Pop Culture Happy Hour! You can read the transcript here. (It’s toward the end.)