The Understudy

by Morgan Richter

An opera singer uncovers the dark secrets of her cruel and alluring understudy when a murder disrupts her disciplined world.

"The first time my understudy tried to kill me was on the day we met. We got off on the wrong foot, Yolanda and I, and while most of that was due to Yolanda being a very . . . complicated individual, some of the blame lies with me..."

After years of rigorous instruction and ensemble work, Kit finally gets her big break when she’s hired to play the lead role in a new opera based on the 1960s cult classic film Barbarella. Entrusted with playing the beautiful and seductive titular role, Kit is on her way to the top of the highly competitive world of New York City opera. But then she walks into rehearsal and meets her understudy. Stunning, suggestive, and bursting with the unbridled confidence of a novice, Yolanda is physically everything Barbarella is meant to be. At first, Kit isn’t threatened by the neophyte, until Yolanda reveals that she wants the role—and will do anything to get it.

As Yolanda's schemes become increasingly more reckless, she draws an unwitting Kit into her orbit. But when a brutal murder destabilizes the company and threatens her role, Kit discovers that Yolanda's glamorous veneer conceals something much more sinister. Hunting down the betrayed friends and discarded lovers from Yolanda’s past and unearthing secrets she’s worked hard to bury, Kit realizes just how far Yolanda is willing to go to get what she wants, and the number of enemies she made in the process.

Genres: Mystery, Thriller, Mystery Thriller, Fiction, Audiobook, Crime, Suspense

336 pages, Kindle Edition

Published August 5, 2025

About the author

Morgan is the author of the neo-noir thriller THE DIVIDE (Knopf; August 2024), and the thriller THE UNDERSTUDY, which will be released by Knopf on August 5th, 2025.

Morgan is a graduate of the Filmic Writing program at the University of Southern California’s film school and has worked in production on several television shows, including ABC’s America’s Funniest Home Videos and E! Entertainment Television’s Emmy-winning comedy series Talk Soup. An avid popular culture critic, she is the author of Duranalysis: Essays on the Duran Duran Experience and has amassed a cult following on her analyses of classic Duran Duran videos. She has self-published five novels, but THE DIVIDE is her first foray into traditional publishing. Richter currently lives in Seattle.

Reviews

[Angie Miale · Rating 3 out of 5]

Katerina has her big break, she is finally going to be a lead coloratura soprano role in an opera based on Barbarella. It is with a smaller opera company in Midtown, but it is in Manhattan at the center of the operatic community. She is confident and excited but has to deal with her understudy Yolanda who thinks she deserves the role, and the day they meet Yolanda poisons Kat by slipping an entire bottle of eye drops into her green tea. Kat can't prove it, and passes it off as a prank, but she ends up hospitalized. Over the course of the next few months, they have a frenemy relationship, we aren't sure if Kat should trust Yolanda, or what the deal is with her past. The book takes a turn at around the 50% mark, and to not give any spoilers, but this is when the book actually gets good.

Frankly the first half of the book made me a bit uncomfortable, it seemed vaguely misogynistic and problematic. The whole "women in competition with each other/cat fight/jealousy"narrative is tired. I don't love the story of women competing with each other and trying to wipe out the other and hating each other. No thanks. This is a harmful trope whether they are fighting over a man or a role. So ironic, too, that they are competing for the lead role in an opera based on a role made famous by Jane Fonda who is one of the most prominent feminist activists of her generation.

That all changes when something happens halfway through, and the rest of the book is great. So if you are reading this and you can get to the middle you will find a good character study, cat-and-mouse psychological mystery/thriller that keeps a strong pace and satisfying and unpredictable conclusion. The Manhattan and opera business setting was exciting and a fun atmospheric element to the pacing and narrative.

I was given a complimentary advanced copy of this book from Penguin Random House/AA Knopf in exchange for an honest review. Book to be published August 5, 2025.

[Miss✧Pickypants ᓚᘏᗢ · Rating 4 out of 5]

Truth be told, heading into this I had reservations that a story involving players in an opera would be a bit boring but I was happy to find this assumption to be very wrong. The opera at the heart of the story is Barbarella (yes, it is based on the campy movie of the same name) so that made it much more relatable to this no-nothing-about-opera-thus-intimidated-by-it reader.

The story follow Kit, the lead of the opera, and as the title indicates, the troubles she encounters with her understudy. No spoilers, but will say this was a pretty intriguing murder mystery and once I started reading, I didn't stop until the end because I needed to know all the answers. I was deep into the book before I put the pieces together and while I usually like to be surprised, I was still very satisfied even though I solved the mystery before the reveal.

Disclosure: Received an uncorrected ARC of this book from NetGalley and Alfred A. Knopf/Penguin Random House LLC (Thank you!) in exchange for an honest review.

[Lenore ⸆⸉ · Rating 4 out of 5]

Pub date: August 5, 2025


This book really pulls you into the competitive world of New York City opera, and the drama between Kit and Yolanda, her ambitious understudy, is captivating. The backstage politics and tension are portrayed really well, and that’s one of the strongest parts of the story. Yolanda’s character is intriguing, but sometimes her scheming felt a bit over the top, and Kit’s responses were frustratingly passive. The murder mystery adds some suspense, but it wraps up a little too quickly and didn’t hit as hard as I hoped. Even with these flaws, the book is still a solid read, especially for the opera setting and the rivalry—it kept me hooked, even if the emotional depth wasn’t all there.

Thank you to Knopf, Pantheon, Vintage, and Anc, and NetGalley for the arc.

[Mandy White (mandylovestoread)]

I really did want to enjoy this book more than I did. I had high hopes, the synopsis sounded like my kind of book.

Not every book works for everyone and sadly this one didn’t works for me. I tried, I really did. But I couldn’t get past the fact that the understudy Yolanda, tried to kill the star of the opera, Kit very early in and yet she didn’t get fired, didn’t get charged by police. And then, Kit became friends with her. . I can suspend my belief for a bit but that was just too far for me. The story just moved on like it didn’t happen. Sorry, but it was just too much to handle for this reader.

Thanks Knopf for the chance to read this book. Check out other reviews as this book has some big fans.

[Erin Clemence · Rating 4 out of 5]

Special thanks to NetGalley and the publisher for a free, electronic ARC of this novel received in exchange for an honest review.

Expected publication date: Aug. 5, 2025

When I read “The Divide” by Morgan Richter, I was impressed with Richter’s creativity and taken aback by her impressive ability to connect plot lines in cohesive, engaging ways. As a result, I was more than excited to read “The Understudy”, Richter’s newest novel, and, as usual, Richter surpassed my expectations.

Kit is a thirty-year-old opera singer and daughter of a famed actress, who finally catches her big break in a modern remake of “Barbarella”, opera style. Kit knows that this role could make or break her career and she is determined to prove herself. When she meets her understudy, the beautiful and talented Yolanda, she is even more focused to maintain her position, as Yolanda seems eager to take the stage in the main role, and she is willing to take Kit out in any way she can- including killing her. But the tables are turned when Yolanda winds up dead and, as fate would have it, Kit was the last person to see her alive. Everyone knows that Yolanda and Kit did not get along and Kit decides that she needs to find Yolanda’s killer, before she ends up behind bars.

What started as two narcissistic women conspiring against each other turned into an intelligent murder mystery that takes place in the less-well-known world of professional opera. I wasn’t sure what I was getting into, as I abhor any form of media that pits women against each other and shows them in the worst light (my idea of Hell would be binge-watching “The Bachelor”) and I know less than nothing about opera, but I managed to thoroughly enjoy “The Understudy”. Richter’s writing was addicting and captivating and I loved the suspense-fueled journey it led me on.

As a protagonist, Kit is genial, although exceptionally self-centred (to be expected from a woman whose entire career is based on being liked) but not in an off-putting way. Her broken childhood made her appear more human, and she grew on me even more as the story progressed.

The murder mystery itself was deep and provocative, which caught me unawares. I did not expect a novel about opera singers to delve into the seedy world of internet escorts and illegal casinos and, not only that, I did not have any idea how they would blend so well together, yet they converged seamlessly. Richter’s “Understudy” is delightful and mysterious, and I thoroughly enjoyed the front row seat.

[Krissy (books_and_biceps9155) · Rating 4 out of 5]

Well, this was fun! I loved the mystery, the drama and all the juicy backstabbing. I wasn’t sure if a book centered around Opera would be for me tbh. However, it really worked and taught me a few things which were cool! Also, my heart loves a chapter title, and this novel has some very witty ones.

The first half of the book is more around the competitive nature and relationship between our MC Kit and our antagonist, Yolanda. The second half really turned into a mystery. I loved how Richter weaved it all together. It became so much bigger than just a “cat fight” story and I thought it was pretty smart. I didn’t see any of the major twists/action that occurred in the end, and it made for an entertaining evening. Thank you @aaknopf for my copy!

[Wendi Flint Rank (WendiReviews) · Rating 4 out of 5]

Who knew there would be such an undercurrent of competitive greed
and mayhem in the NewYork Opera season. It borders on the maniacal
with just a touch of misogyny thrown in for good measure.
The atmosphere is diabolical, leaving the reader working to solve the
mystery, which I had solved, but only at the point the book takes off
and Kit’s choices are exposed. The story did seem to be about
the murder but that’s not really the point…
My thanks to Penguin Random House for the copy of the book,
and thanks to NG for the download copy of the book, for
review purposes.

[Morgan · Rating 2 out of 5]

***Thank you to Knopf, Pantheon, Vintage, and NetGalley for the early reader copy, in exchange for an honest review.***

Sadly, I am the odd man out that didn’t enjoy this. I found the story to be long and unrealistic.

The main character was getting herself into way too many situations she just didn’t need to be involved in. I couldn’t understand why she kept involving herself when she really didn’t need to. She trusted way too easily, when there were so many signs to turn back.

I also found that the characters were not likable. There was nobody I really liked, besides the side characters who had 1-5 page appearances.

I think it had more potential with the understudy sabotaging the main character. I wish we would have had more of that, because I do think the author did that best.

This one just wasn’t for me. I think new readers to the thriller genre might enjoy this more.

[cami · Rating 3 out of 5]

3 ⭐️ Kit finally gets her big break in an opera adaptation of Barbarella, but her understudy is determined to do whatever it takes to steal the role, even murder.

I was hooked from the very first sentence, and I love when a character haunts the narrative in a way that adds constant tension. While I didn’t particularly like any of the characters, that actually worked in the story’s favor, making everyone feel like a believable suspect and increasing the suspense. However, some things seemed underdeveloped, like Kit’s relationship with her mother, it felt like there was something missing there. I think this was due to the fact that the mystery didn’t slowly unravel into a moment where everything clicks together. Instead, everything was revealed through long paragraphs of backstory that didn’t feel as satisfying as being able to pick up on clues throughout the story.

Thank you to NetGalley, Knopf, Pantheon, Vintage, and Anchor for the ARC in exchange for an honest review!

[Books Amongst Friends · Rating 4 out of 5]

Review Copy/Story Overall: 4/5
Audiobook/Narration: 3.5/5

If you’re someone who enjoyed the movie “SHOWGIRLS” or books that touch on competitive spaces, unlikely friendships and obsession— then this book will definitely be a good read for you.

Anyone who has read my reviews knows I appreciate a messy character. This book has no shortage of that with Kit and Yolanda in the highly competitive NY opera scene. Kit is a talented opera singer finally getting a chance to make her mark. She feels confident and perfectly suited for this role as the opening day creeps closer and closer. Well, that is until she meets her understudy Yolanda. Now one things for certain….. Yolanda is not here to play around. While she may not be as technically skilled as Kit, she outshines in personality and may just take the role to the next level. She is dangerously devoted to being the leading lady. She knows what she brings to the table, and undoubtedly, what Kit cannot. Kit begins to question herself as she recognizes Yolanda may be more of a threat on the stage, and off, than she initially considered. While she disdains Yolanda, she’s also deeply fascinated by her—specifically in her ability to be as brazen as she is. Yolanda is unwavering, audacious (to say the least), and one might even say a little bit crazy. Regardless, she’s definitely a character that Kit and the readers won’t forget. It’s in these first interactions that Richter invigorates these characters in such a real and engaging way for readers. Whether you like the characters or not, you will surely be entertained by them and potentially see the resemblance of their characteristics in people you know.

When a murder occurs, the show is put on pause and the secrets begin to unveil. Who did it? Will the show go on? What’s the reasoning!? Kit knows she has to get the show back and finds herself drawn into the chaotic lives off of the people around her and her understudy’s past. Similar to Richter’s first book she introduces you to a range of questionable and suspicious characters. There’s always different elements to her stories that connect back to the mystery while allowing you to view the characters in more personal ways.

I think a lot of readers will enjoy this read the way I did. There may be some readers who feel it could’ve done more or find they genuinely dislike the characters in a way that detracts from their enjoyment of the overall story. For me that wasn’t the case. It was solid murder mystery that also presented a look into the mystery of identity, past lives, and obsession in different forms. One aspect I enjoyed largely was Richters unique way of casting a mirror between Yolanda and Kit. They contrast and reflect so much of each other and we see the way Kit processes this. Kit’s recognition happens as she discovers the lengths Yolanda and her are willing to go for their own pursuits of fame and the truth. Like Kit, we all find ourselves curious and captivated by Yolanda’s history laid bare and unsure on what this means for Kit when it’s all said and done.

If you have not read Richter’s previous book “THE DIVIDE”, I’d recommend checking that out as well. It’s clear Richter loves to tackle stories of competitive women, revenge, identity crisis, and puzzle piece mysteries.

[📚 Shannon · Rating 4 out of 5]

A very enjoyable book, if perhaps a bit unrealistic at times. It was both very cool/interesting to be thrust into this strange new world of opera singing, but also confusing and annoying at times as the narrative kept getting slowed down by my need to look up every third word since I didn't know what things like comprimario and dramaturg meant. Part of me was excited to learn new things but part of me felt like uncultured swine since there was so much I didn't know. However, some lines of the book, despite how unknown opera is to some of us, can translate across all fields, like this one: "Receiving praise for working hard is much less satisfying than receiving praise for being exceptional."

As with most books where someone who isn't a cop or a detective investigates a crime, there were a few times where I had to roll my eyes at the motivations behind our main character going to great lengths to figure out the perpetrator. It's always just a little silly when random citizens figure things out that the professionals missed, but in this book, the bigger issue for me is why the main character cared enough to investigate at all. It was pretty flimsy. There was a bit of "just doing my duty to the deceased" going around, but she had no duty, so it didn't make much sense. Lines like this drove me nuts: "I was willing to bet I could tell if I was chatting with [BLANK]'s killer." It was hard for me to ignore why anyone would go to such great lengths to solve a murder of someone they barely know, but also that so many people willingly opened their mouths and told the truth to someone who had no business asking the questions they were asking. People heard the questions then opened their doors and let our main character into their homes for comfy chats like they were all old friends instead of literal strangers. Maybe I'm in the minority, but I don't care how unthreatening they look, without a badge or a hell of a good story, I'm not letting any strangers into my living room where they could stab me and no one could hear me scream.

But through my few eye rolls, I couldn't stop reading and really wanted to see how the book was going to end. No spoilers but I was less interested in the murder mystery than I was in the opera mystery. I couldn't wait to find out what was going to happen with that opera, but I can't give any specifics without ruining things. It was the mystery of the opera that kept me reading late into the night.

I received this book through NetGalley in exchange for an honest review.

[Tara ✨booksbeersbattlestargalactica✨ · Rating 4 out of 5]

“𝕋𝕙𝕖 𝕗𝕚𝕣𝕤𝕥 𝕥𝕚𝕞𝕖 𝕞𝕪 𝕌𝕟𝕕𝕖𝕣𝕤𝕥𝕦𝕕𝕪 𝕥𝕣𝕚𝕖𝕕 𝕥𝕠 𝕜𝕚𝕝𝕝 𝕞𝕖 𝕨𝕒𝕤 𝕠𝕟 𝕥𝕙𝕖 𝕕𝕒𝕪 𝕨𝕖 𝕞𝕖𝕥.”

Kit finally gets her big break as the lead in a new opera based on the 1960’s cult film, Barbarella. She’s worked her whole life for this moment, but then she walks into rehearsal and meets her understudy, Yolanda. Ego, ambition, and rivalry quickly take center stage and soon, rehearsals become overshadowed by a murder mystery.

This was such a compulsive read..I tore through it in no time. I could never figure out who to trust, and the behind-the-scenes look at NYC’s performing arts world felt so vivid and cutthroat, it was almost a character in itself 🎭

If you love:
🔎 Murder Mysteries with theatrical flair
🎭 Dramatic rivalries
🗽 NYC arts & culture
🕵️‍♀️ Twisty thrillers you can’t put down
…then 𝐓𝐡𝐞 𝐔𝐧𝐝𝐞𝐫𝐬𝐭𝐮𝐝𝐲 deserves a starring role on your TBR.

[Ilyse · Rating 2 out of 5]

1.5 I was compelled and enjoyed the opera setting even though everything Kit does in response to threatening behavior from Yolanda makes no damn sense

[Jackie Sunday · Rating 4 out of 5]

This is a murder mystery that will catch you by surprise.

Yolanda, the understudy of a female opera singer was considered to be beautiful by the directors but she had an ugly past that followed her. She felt like the lead was hers to take. Yet, she didn’t realize that the principal singer, Kit, also had a past and would fight for her rightful position.

But wait…this is a book about an opera. I remember when Mike Myers in the movie “Bohemian Rhapsody” said, “Are you aware that no one actually likes opera?” That was my first thought. It’s usually enjoyed by an older audience of wealthy patrons listening to a complex plot of love and betrayal. What was it doing in this book?

Yet, it didn’t take long before I was totally immersed. The rock band, Queen, announced that they were giving opera a new style and this story took the traditional opera music and updated it from a 1968 cult sci-fi film, Barbarella. I wanted to hear pieces of it.

The leading star, Roksana, backed out to take another role which meant that Kit was next in line with a perfect soprano voice. However, she didn’t seem to have the magnetism and charm of her understudy, Yolanda. Would Kit be replaced to get better reviews?

It always goes back to money and what would sell: voice or seductiveness? It’s what made me read quickly. There were times that I thought it seemed so unbelievable although the plot was exciting and kept me glued. What fascinated me the most was about the recent adjustments made with opera performances to entertain and build a larger appeal to audiences.

In the Author Notes, Morgan Richter talks about her admiration of the Seattle Public Library. When I lived there, it was one of my favorite places and I agree about the importance of public library systems.

My thanks to Knopf and NetGalley for allowing me to read an advanced copy of this book with an expected release date of August 5, 2025.

[Han · Rating 5 out of 5]

Kit, a trained opera singer, lands the lead role in a new opera based on Barbarella. She meets her understudy, Yolanda, who is confident and embodies the physicality of Barbarella. Despite lacking formal training, Yolanda believes she deserves the role and is willing to do anything to get it. Yolanda's schemes become dangerous, and a murder within the company threatens Kit's role. Kit uncovers Yolanda's dark past and realizes the lengths Yolanda will go to achieve her goals.

I saw a lot of mixed opinions about this book, but for me, this was one of my favorite arc reads of all time! I think anything that has to do with being on stage or being in a production immediately reminds me of black swan, and The Understudy has the elements to become a screen adaptation. I think this book shows the lengths of how far some people will go to get what they deserve. Yolanda has the tell-tell signs to be a villain and the author does a really good job of painting her as such, but with that being said, I feel like Kit’s character fell flat when Yolanda was alive. If someone put eyedrops in my tea I would be filing a police report, also the dead rat thing, or the mouse thing, or any of it. I wouldn’t have let it get as far as it did for Kit. I think the murder mystery element plot was very interesting in this book because I just thought it was going to be Yolanda terrorizing Kit the whole book. I think Kit was the perfect character to hate but not hate enough to stop reading. I also felt like at some points the book had points where it was unrealistic. Overall, it was one of my favorite net galley reads so far!

[Brad · Rating 4 out of 5]

The Understudy by Morgan Richter is the first thriller I've read that takes place in the world of opera.

"After performing at the back of the stage for many years, Kit finally gets her chance as a lead in a new opera based on Barbella. Her understudy, Yolanda, tries to kill her on the first day. It was just a prank - she didn't mean anything. Yolanda is not classically trained but seems sure that she will have the lead role on opening night. When a murder destabilizes the company, Kit finds all of the people hurt and left in Yolanda's wake - and just how far she's willing to go to get what she wants."

Kit is a character that is trying to find her stage presence. She is described as having a very good technical voice but with no passion or feeling in her notes. Yolanda is the opposite - no vocal training, but an adequate voice and lots of sex appeal. And Yolanda will do whatever it takes to get what she wants. There are some other things going on behind the scenes at this small opera company - things that Kit has to fight against.
Richter gives us a little tongue-in-cheek with the Charlie's Angels and Barbarella operas but the characters always treat them as serious art.
Richter has done her research into opera. I've been around music my whole life and had never heard of a coloratura soprano. (I have heard of a castrato tenor)
Richter keeps you guessing about what's really going on, especially after the surprise murder.

Good story from Morgan Richter.

[David Dunlap · Rating 3 out of 5]

Unbeknownst to her, opera diva Katerina (Kit) Margolis has a target painted on her back. She has received the plum assignment of creating the lead role in a new opera based on the Jane Fonda movie 'Barbarella.' The woman hired to be her understudy, Yolanda Archambeau, while not formally-trained (as Kit was), is gorgeous, sexy, and charismatic -- and ambitious. Yolanda seems to have the favor of both the director and music director of the opera, much to Kit's puzzlement. Then potentially life-threatening things start to happen to Kit: poisoned tea, a gentle shove into the path of an oncoming subway train, a dead rat on her apartment's doormat. Kit is convinced Yolanda is behind these attempts on her life, hoping to clear her way to singing Barbarella. There seems to be something of a rapprochement between the battling divas (Kit is very ambivalent about drawing closer to Yolanda, but her own checkered past leads her to soften). Then the novel takes a totally unexpected turn, and Kit finds herself in a radically different scenario. (No spoilers here!) -- I cannot say that I found the characters in this book very sympathetic, but the pages kept turning for me as I was drawn into Kit's dilemma. The resolution is satisfying. This good suspense/mystery novel draws a cautious recommendation...

[Janereads10 · Rating 3 out of 5]

I was completely captivated by Lisa Flanagan's narration. She absolutely brought Kit's character to life, diving deep into the nuanced world of an opera singer caught in a web of professional drama. The audio pacing was so smooth that I found myself completely absorbed, without a single moment feeling slow or tedious.

Morgan Richter gave listeners an incredible behind-the-scenes peek into the opera world. The psychological tension between Kit and Yolanda kept me hooked. Their dynamic explored the razor-thin line between professional rivalry and personal obsession in a way that felt both thrilling and authentic.

While it didn't quite hit five-star perfection, the audiobook had so much to offer. The characters felt real, the premise was unique, and those moments of unexpected excitement, especially as the mystery started to unravel, were pure listening gold.

If you're after an audiobook that goes beyond a typical mystery, this is definitely worth your time. It's a thoughtful, engaging exploration of ambition that'll keep you wondering what's coming next.

Thank you to Penguin Random House Audio for my digital review copy. As always, the thoughts shared here are completely my own.

[RachelZ · Rating 4 out of 5]

Characters: 3.75⭐️
Setting: 4.00⭐️
Plot: 3.75⭐️
Themes: 3.00⭐️
Personal enjoyment: 3.75⭐️
Emotional Impact: 3.00⭐️
Overall rating: 3.75⭐️

When Kit is finally making her debut as the lead of new opera in New York, she is met with her understudy who is the complete opposite of her. Yolanda is stunning, suggestive, but has no classical training. And she wants what Kit has and she is willing to do whatever it takes regardless of who might get hurt in the process.

Wow. I was not expecting this book to be so twisty. What drew me into this novel was the idea of the New York opera scene. As a New Yorker and avid Broadway go-er, the setting and characters immediately drew me in. I loved the idea of rivals within the opera, but it is so much more. Yolanda is a character you love to hate, like putting eye drops in Kit's tea immediately after meeting her and having a disagreement?

This was a quick thriller, mystery that kept me guessing until the end. I really enjoyed this book.

Would I recommend it? Yes!

Thank you to Knopf for sending me a finished copy in exchange for an honest review.

[Alexis · Rating 4 out of 5]

Rating: 4 stars

This book was intriguing and the character were interesting. When the one character’s arc came to an end, I was certain the mystery would die out, but I was wrong.

My only qualm with the novel and the reason I docked 1 star was due to my hope that there would be more suspense throughout the second half of the book and found it lacking in that regard. It quickly went from thriller to mystery, which was still interesting but did not keep me nearly on the edge of my seat.

I would still recommend this book.

[Reading Rounds · Rating 5 out of 5]

Morgan Richter’s The Understudy is a delight—a murder mystery that’s less about the crime itself and more about the brilliantly drawn world surrounding it. The plot is deceptively simple: when someone is killed, our protagonist, Kit, finds herself under suspicion and must unravel the truth to clear her name. But Richter’s true talent lies in characterization, making the whodunit almost secondary to the vibrant, lived-in setting and the people who inhabit it.

Kit is a fantastic heroine—prickly, awkward, and deeply relatable, with a good heart that shines through her rough edges. What makes the novel truly special is Richter’s deft handling of relationships, particularly the unexpected care Kit receives from marginalized characters: a sex worker and a trans woman, whose kindness contrasts sharply with the machismo and carelessness of the wealthy men around them. These dynamics add depth and nuance, turning what could be a straightforward thriller into a layered exploration of power, vulnerability, and solidarity.

The use of the Barbarella opera as a framing device is both hilarious and clever, adding a layer of campy theatricality that perfectly complements the story’s tone. Richter’s writing is sharp, funny, and immersive, making it easy to get lost in Kit’s world. By the end, I was desperate to know what happens next to her—she’s the kind of character who lingers in your mind long after the book is closed.

The Understudy is a standout novel, blending mystery, wit, and heart in a way that feels fresh and utterly engaging. Highly recommended for anyone who loves character-driven stories with a bite.

[Dana K · Rating 3 out of 5]

{3.5 stars}

Thanks to AA Knopf for the gifted copy. All opinions below are my own.

Kit and Yolanda are competing for a role in an opera. Yolanda will do anything to have the role. She gets caught in one of her attempts and admits it. Unexpectedly, the two patch things up and become friendly. But when things keep happening to Kit, she feels it must be Yolanda. And then there is an unexpected twist and Kit's world is turned upside down. She needs to find out what's really happening to both save the opera and her her life!

This one was fun. It definitely kept me on my toes more than I expected. I liked the unusual setting for a murder mystery. The plot turns surprised me throughout. 

[Stephanie · Rating 2 out of 5]

Okay, so I went into this based on the cover thinking it was a cozy mystery - that cover screams cozy mystery! This is not a cozy mystery lol. Kit was such an interesting MC - she is deeply flawed, a bit weird but oh so devoted to her craft. Yolanda was also a pill who I still somewhat rooted for even though she would totally run me over with her car. I loved the opera side to this and learned a lot about how productions come to fruition.

[Dione · Rating 4 out of 5]

The unique setting in the world of opera gave The Understudy a fresh and intriguing backdrop. I especially enjoyed how Kit took it upon herself to uncover the truth—her determination pulled me in and kept the story moving. The plot was packed with twists and unexpected turns that kept me guessing throughout. While the beginning started off a bit slow, it gained momentum halfway through, leading to a conclusion that I genuinely did not see coming. The abundance of characters/aliases made it a bit tricky to keep track of everyone at times, but it ultimately added to the the intrigue of the story. Overall, The Understudy was a compelling read that was absolutely worth sticking with.

Thank you to NetGalley and Knopf, Pantheon, Vintage, and Anchor | Knopf for the advanced copy, all opinions are my own.

[Susannah Thornton · Rating 1 out of 5]

I read about half of this book and couldn't plod onward to finish. The writing was pretty elementary, but perhaps that's because I am an opera singer and was not impressed by the minimal amount of research the author did. I have highlighted sections in the portion I read and I will share the inconsistencies/errors I found while attempting to read this book below.

Location 95 in the galley 1 Giddy Uncertainty: "As understudies rarely get a chance to perform, requiring them to show up to early rehearsals serves no useful purpose and bloats the budget"
What I consider the fundamental issue with this book is the fact that the whole story is based off of an "understudy" (including the title). That term is used in theatre and musical theatre, not opera. In opera understudies are called covers, and they absolutely attend every rehearsal. Morgan portrayed "understudies" as people who slide in only when needed who are not paid to attend any rehearsals ahead of time, which is fundamentally incorrect. If the covers don't attend the rehearsal process, they don't know the role and cannot step in to perform it. Occasionally, a person may fall ill in a production which necessitates an emergency cover to be flown in from somewhere else, but that person would be a professional artist who had already performed the role elsewhere, most likely multiple times. It made it hard to continue to read the book knowing that this is the theme of the book and it was not researched at all by the author.

Location 171 in 1. Giddy Uncertainty "to hit every note clearly"
"Hitting" notes is a term we do not use in the classical world as having sound vocal technique involves a lot more than "hitting the note", which is a colloquialism from popular culture. Again- a basic lack of research which could have been alleviated by having an advisor or reading group composed of opera professionals.

Location 118 in 1. Giddy Uncertainty "[Carlo was] sidestepping the expected path of playing Don Jose as a lovesick fool in favor of excavating the character's cruel and manipulative undertones" Again- I feel the author has never seen Carmen or any other opera. This statement is just so wrong it's hard to unpack it quickly- Don Jose in Carmen in a womanizer, abuser, and sweet talker who is NEVER played as anything but the heel. When I read this passage I threw my Kindle because it was so offensively incorrect. All Morgan needed to do was really read the Wiki synopsis of Carmen to get this right and she didn't take the time to. Sloppy.

Location 213 in 1 Giddy Uncertainty "Worse, she slid up and down between her notes on the trill instead of hitting each one dead on. Sliding around is fine, even encouraged, for many styles of singing- pop music careers have been built on well-deployed vocal scoops- but unless an artist really knows what she's doing, it's considered a bad move in opera."
A lot to unpack here:
1. It's legitimately not possible to slide to notes in a trill- a vocal trill is done by singing two notes which are either a half step or whole step apart. This means the notes are neighbors with nearly no space between them for a slide. I could go on theoretically about how wrong this explanation is but I think I've made my point on this.
2. "Sliding" in opera is called performing a porta mento. It is used for emotional affect or because of a direction in the score by the composer specifically wanting it for a passage. It was very popular during the bel canto period, which is the "golden age" of opera. So yes- opera singers do slide between notes purposefully quite often.

Location 639 4. Peace Offerings "Sugar causes mucus to collect on the vocal cords, so I preferred to avoid sweets while preparing for a production"
1. Vocal cords is not the correct term if you're talking about the opera world, which is anatomically informed and specific. The word we would use is "vocal folds".
2. Although this is technically true, this statement reeks of Googling for information. In my 12+ years as a professional in the opera world, I have never heard anyone say they avoid sugar because of this. What singers do avoid often which has a much more instantaneous effect on the folds is lactose/dairy.

If this book and author want to be well received, the book needs considerable revision. Otherwise the story is nothing but a farce.

[Ethan · Rating 4 out of 5]

When Morgan Richter’s publisher first offered me a copy of her latest thriller set in the world of classical opera, I’ll admit I had a hard time picturing how that setting could fuel suspense. When most people think of opera, they imagine a stuffy concert hall, audiences in black tie, long arias in foreign languages, and an orchestra tucked beneath the stage. Or maybe they picture Bugs Bunny. What they probably don’t imagine is the high-stakes competitiveness simmering behind the curtain. Having worked in the classical music world, I can attest that the passion to create something unforgettable and to leave your mark is undeniable. Sometimes that passion blossoms into rivalry. And on rare occasions, it hardens into obsession. It’s from this very real world that Richter draws inspiration for her new thriller, The Understudy.

Kit has spent years honing her craft as an opera singer, pouring countless hours into perfecting her voice. But the breakout role she’s dreamed of has never materialized. Instead, she’s toiled away in ensemble parts across New York City, where it’s notoriously difficult to stand out. Opera companies are spoiled for choice, with centuries-old works demanding the best of the best. And with audiences dwindling and finances shrinking, directors are rarely willing to gamble on a newcomer when seasoned performers are waiting in the wings.

That’s why Kit is thrilled when she’s finally cast in a brand-new opera based on the 1960s cult film Barbarella. It’s not the role she imagined for herself—she’s never been known for her sex appeal—but originating a lead part in a new work could catapult her career. There’s just one problem. Well, two. First, despite Kit’s flawless technique, the director seems unconvinced she’s right for the role. And second, there’s her understudy, Yolanda. Beautiful, bold, and brimming with confidence, Yolanda embodies everything Barbarella is supposed to be, even if her singing is far less polished. At first, Kit tries to outwork her rival, but when Yolanda makes it clear she plans to steal the spotlight, Kit realizes she’s facing more than artistic competition. As rehearsals intensify, it becomes clear that Yolanda will stop at nothing to claim center stage.

In The Understudy, Morgan Richter pulls readers behind the curtain of an opera production, revealing the tense, high-stakes drama simmering in this world. The reality for many in classical music is sobering. Audiences are shrinking, funding is dwindling, and the art form itself feels increasingly on the verge of obsolescence. Richter seizes on this truth, weaving it into the inner struggles of her characters, who push themselves to excel in a space that seems to be slipping away. That backdrop of decline adds an extra layer of urgency and desperation to every moment.

As the story progresses, Richter gradually turns up the darkness. The lengths to which Yolanda is willing to go to secure the starring role seem boundless. Or are they simply projections of Kit’s spiraling paranoia? The line between reality and obsession blurs, pulling the reader deeper into Kit’s unraveling perspective. The result feels like a classical-opera take on Black Swan, but with Richter’s sharp character work giving even the supporting cast depth and dimension. It’s a gripping mix of psychological tension and character study that kept me riveted from the first rehearsal to the final curtain.

[Ed Rabinowitz · Rating 3 out of 5]

Thanks to NetGalley and Knopf, Pantheon and Vintage for this advance reader’s copy, in exchange for an honest review. “The Understudy” has an expected publication date of August 5, 2025.
And check out all my reviews at my Raised on Reading (www.raisedonreading.com) book blog.
I have mixed feelings about Morgan Richter’s soon-to-be-released novel “The Understudy,” mostly because I finished the book and was confused over what I had just read. What I thought – from both the title and the opening chapters – would be story about a rivalry between an opera star and her understudy, quickly devolved into one of fraud, obsession, jealousy, and unrealistic scenarios.
Kit Margolis, stage name Katerina, has just landed her first lead role in the new opera Barbarella. Why anyone would even consider making an opera based on the 1968 cult movie of the same name is beyond me, but that’s neither here nor there. Kit has a magnificent voice, but her stage presence and lack of emotional connection with the audience have the director, Daniel, eyeing her understudy, Yolanda – who has never performed in an opera before – as a replacement.
This, of course, leads to immediate friction between Kit and Yolanda, fueled by the latter’s supposedly innocent prank of lacing Kit’s tea with tetrahydrozoline (eye drops), which land her in the hospital. Yolanda even cops to the nasty deed. Despite this admittance, and subsequent ‘innocent pranks,’ Kit somehow finds herself developing a friendship with Yolanda.
And if that’s not unrealistic enough, Kit immediately becomes a super sleuth when a crime is committed, somehow believing she can solve the mystery faster and better than the police – despite repeatedly placing herself in harm’s way. Someone fighting for her operatic life just wouldn’t go there.
I also found the characters, including Kit, difficult to like. None of them have any redeeming qualities, so there’s really no incentive to root for anyone. Had the narrative retained its initial focus on the rivalry between Kit and Yolanda, that might have been more interesting. But too many plot deviations hindered the story’s flow.
I’m not a huge fan of opera, stemming mostly from my lack of understanding of the genre. So, from that perspective, I appreciated Richter’s detailed explanations of how an opera comes together, without getting overly technical. I may still never go to an opera, but at least I have a better understanding.
I’m not totally down on “The Understudy,” I just feel it lost its way from what it could have been. Three out of five stars, and perhaps that’s being a tad generous.

[Stephanie Kollgaard · Rating 4 out of 5]

The Understudy is the second book I have read by Morgan Richter and is an excellent follow up to The Divide.

This takes place in the world of NYC opera where Kit Margolis (Katerina on stage, Katherine or Kit in real life) is struggling to prove that she is the right fit for the first starring role of her career which she landed out of sheer luck after the original lead took on a role at The Met. Kit is immediately undermined by her understudy, a completely out of place and untrained diva named Yolanda, who shortly after meeting Kit enacts her first attempt to kill her. The rest of the story centers around Kit trying to navigate Yolanda, coming to terms with her own difficult and violent past, and overcome her inhibitions which are preventing her from being the best opera singer she can be.

Yolanda is a mesmerizing character as she is erratic and destructive- and tries multiple ways to kill Kit- yet Kit realizes how easily she could have become Yolanda herself if she had not had proper support in place as a child considering her own painful and abusive upbringing. At times it is irritating to watch Kit repeatedly be fooled by Yolanda, however it makes sense considering Kit's own self esteem struggles and the empathy she feels for Yolanda despite Yolanda's actions.

There is a portion of the book which feels a little tedious as while the information revealed is extremely interesting, it's portrayed by Kit going to a series of people's houses who all give her new back ground details on who Yolanda really is. I wish that Kit had discovered this information in a way that wasn't just meeting people who immediately spill to her despite not knowing her. This pattern of her figuring things out occurs in New York as well.

The resulting web of crime and reasoning for a murder that Kit ends up uncovering was both fascinating and pedestrian in that no matter what what convoluted crimes or shady activity a woman is involved in, ultimately a lot of violence against women stems from nothing more than hatred/possessiveness from men.

Overall even if parts lagged and the criminal network in this book was a little confusing, this was a really interesting look into the world of opera and the struggles that singers go through to make it even to small roles on the stage (although in real life of course presumably everything they do is legal!). I look forward to reading future books by Morgan Richter.

Many thanks to Knopf, Pantheon, Vintage, and Anchor and to NetGalley for this ARC to review. This review is my honest opinion.

[Carole Barker · Rating 4 out of 5]

Competition in the opera world can be murder

Aspiring opera singer Kit Margolis has been looking for her big break for years, paying her dues in understudy roles and hoping to push through to a leading role. When a more established singer is cast for the lead in a new opera based on the movie Barbarella but then drops out before it opens, Kit is shocked but thrilled to be offered the part. At last! Then she meets her understudy, the beautiful and very ambitious Yolanda Archambeau. Kit's self confidence is a bit shaky when she sees just how right for the part Yolanda is: charming, seductive and highly manipulative. Did I mention ambitious? Yolanda does her best to rattle Kit, with escalating ploys that don't rule out killing the woman that stands in her way. Someone is in fact killed (though its not Kit), and Kit plays amateur sleuth to find out what happened. The more she pokes into Yolanda's past, the more she finds that Yolanda's predatory behavior has popped up in other productions she has been involved with in the past...and she left plenty of enemies in her wake. One murder, many suspects...can Kit save herself (and her career) by unmasking the killer?
The stories and roles in opera have long been known to verge on the over-the-top, but who knew that the behind-the-scenes world was full of even more drama and big egos? Author Morgan Richter has written a suspenseful tale with plenty of detail about what goes into an opera production. The rivalry between Kit and Yolanda is at the very core of the story, and while I found Yolanda's plotting clever I thought that Kit's reaction to the campaign against her somewhat lacking in passion. With so much on the line, her decision to channel her inner Nancy Drew rather than involve the police was a little hard to believe (though obviously necessary to drive the plot along). The ending comes abruptly and for me didn't live up to the tension-filled plot that preceded it. Overall, I found it to be an engaging thriller with a unique and well-portrayed setting, fast-paced but with some faults within the plot, a solid 3.5 ⭐️ rounded up to a 4. Readers of Megan Abbott, Alafair Burke and Gillian Flynn as well as fans of psychological thrillers who have a passion for or interest in opera may find this tale up their alley. My thanks to NetGalley and Knopf, Pantheon, Vintage and Anchor/Knopt for allowing me access to the novel in exchange for my honest review.

[Sandy Quill · Rating 4 out of 5]

My thanks to NetGalley and Borzoi Books/Alfred A. Knopf for the ARC of "The Understudy" in exchange for an honest review.

To paraphrase that corny old joke about opera.......it's not over til someone drops dead.

Pitch perfectly trained young opera singer Kit is on the verge of her big breakthrough and first starring role. Her New York based opera company, famous for its startling choices of adaptive material, has cast her as the campy, sexy sci-fi heroine Barbarella. (Barbarella belting out arias as she defends the galaxy in outrageous skin-tight costumes? The mind boggles......how come Masterpiece Theater never got around to this......)

Kit's singing may be technically superb, but her acting is strictly mediocre connect=the-dots, lacking true fire, emotion and conviction. Which leads the company to lean toward her strikingly beautiful understudy Yolanda. Yolo's got nowhere near Kit's precision vocal talents, but she radiates the pure sexual combustion the role of Barbarella requires.

Even worse news for Kit.......Yolanda's not only more suited for the role, she's potentially a treacherous sociopath, who won't let anything or anybody stand in the way of her path to stardom. And anyone she considers a roadblock......uh-oh.

At this point, I would not want to spoil all the many ways in which Kit and Yolanda's toxic frenemy situation goes spiraling out of control in multiple disturbing directions. Let's just say that Kit's determination to unravel her understudy's tortuous backstory and motives lead her into one surprise after another........including someone wielding a wicked knife.

I'm not sure I could fully swallow the bumpy turns of plot this book takes and its final revelation is no great surprise either. What I did thoroughly enjoy (being something of a lifelong theater geek), was the fascinating look into opera as the most distinctive and challenging of musical art forms. Author Morgan Richter takes us on a juicy tour of backstage politics, and the arduous, demanding vocal training that Kit must endure to reach the pinnacle of her chosen form of creative expression.

Combining Kit overcoming her own personal deficiencies with Yolanda's strangely dangerous life makes for one engrossing package put together. And it's not over till Barbarella sings.......

(please peruse my other reviews at www.thesandyquill.blogspot.com)