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Nicholas Bracewell #1
The Queen's Head
1587, and Mary, Queen of Scots, dies by the executioner’s axe; her head, shorn of its auburn wig, rolling across the platform. Will her death end the ceaseless plotting against Mary’s red-haired cousin, Elizabeth?
1588, the year of the Spanish Armada, is a time of more terror and triumph, not just for queen and court but for the whole of England. The turmoil is reflected in its theatres and under the galleries of inns like London’s “The Queen’s Head” where Lord Westfield’s Men perform. The scene there grows even more tumultuous when one of the actors is murdered by a mysterious stranger during a brawl.
Nicholas Bracewell, the company’s bookholder (a role far wider than mere producer) faces two immediate repercussions. The first is to secure a replacement acceptable to its temperamental star and chief shareholder Lawrence Firethorn. The second is to keep his promise to the dying Will Fowler and catch his killer.
Soon further robberies, accidents, and misfortunes strike Lord Westfield’s Men even as their stage successes swell. Bracewell begins to suspect a conspiracy, not a single murderous act, but where lies the proof? Then the players are rewarded with the ultimate accolade an appearance at court and the canny bookholder senses the end to the drama is at hand…
First published to great acclaim in 1988, The Queen’s Head anticipated the lure of bawdy, boisterous, yet elegant epics like Shakespeare in Love. Actor and playwright Marston has followed with, to date, ten more lusty, historically grounded, theatrically sound Bracewell mysteries that explore the face of England and reveal his deep love for its rich literary and dramatic heritage. The Roaring Boy was nominated for a 1996 Edgar Award for Best Novel.
1588, the year of the Spanish Armada, is a time of more terror and triumph, not just for queen and court but for the whole of England. The turmoil is reflected in its theatres and under the galleries of inns like London’s “The Queen’s Head” where Lord Westfield’s Men perform. The scene there grows even more tumultuous when one of the actors is murdered by a mysterious stranger during a brawl.
Nicholas Bracewell, the company’s bookholder (a role far wider than mere producer) faces two immediate repercussions. The first is to secure a replacement acceptable to its temperamental star and chief shareholder Lawrence Firethorn. The second is to keep his promise to the dying Will Fowler and catch his killer.
Soon further robberies, accidents, and misfortunes strike Lord Westfield’s Men even as their stage successes swell. Bracewell begins to suspect a conspiracy, not a single murderous act, but where lies the proof? Then the players are rewarded with the ultimate accolade an appearance at court and the canny bookholder senses the end to the drama is at hand…
First published to great acclaim in 1988, The Queen’s Head anticipated the lure of bawdy, boisterous, yet elegant epics like Shakespeare in Love. Actor and playwright Marston has followed with, to date, ten more lusty, historically grounded, theatrically sound Bracewell mysteries that explore the face of England and reveal his deep love for its rich literary and dramatic heritage. The Roaring Boy was nominated for a 1996 Edgar Award for Best Novel.
193 pages, Paperback
First published September 22, 1988
67 people are currently reading
1058 people want to read
About the author
Edward Marston
227 books467 followersLibrarian Note: There is more than one author in the Goodreads database with this name.
A pseudonym used by Keith Miles
AKA A.E. Marston
Keith Miles (born 1940) is an English author, who writes under his own name and also historical fiction and mystery novels under the pseudonym Edward Marston. He is known for his mysteries set in the world of Elizabethan theatre. He has also written a series of novels based on events in the Domesday Book, a series of The Railway Detective and a series of The Home Front Detective.
Series contributed to:
. Malice Domestic
. Crime Through Time
. Perfectly Criminal
A pseudonym used by Keith Miles
AKA A.E. Marston
Keith Miles (born 1940) is an English author, who writes under his own name and also historical fiction and mystery novels under the pseudonym Edward Marston. He is known for his mysteries set in the world of Elizabethan theatre. He has also written a series of novels based on events in the Domesday Book, a series of The Railway Detective and a series of The Home Front Detective.
Series contributed to:
. Malice Domestic
. Crime Through Time
. Perfectly Criminal
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Displaying 1 - 30 of 137 reviews
July 5, 2021
Entertaining, generally quite historically, culturally accurate, and featuring characters who, and especially with regard to the theatre-troupe of Lord Westfield's Men, show nuanced and well-developed, intriguingly conceptualised individuals (with both interesting and also believable, realistic back-stories), Edward Marston's The Queen's Head is not only a readable and enjoyable introduction to his Nicholas Bracewell series of historical mysteries, but also a great general introduction to the main movers and shakers of said series, to actors like arrogantly bombastic manager Lawrence Firethorn, curmudgeonly (and sexually a bit perverse) clown Barnaby Gill, shy and always looking for true love actor/playwright Edmund Hoode (and of course to Nicholas Bracewell himself, the main sleuth, and the theatre troupe's bookkeeper, which aside from financial responsibilities means that he is responsible for keeping the written play manuscripts Lord Westfield's Men are performing safe and out of the hands of potential rivals).
But while The Queen's Head (and the rest of the novels of Marston's Nicholas Bracewell series) are indeed and of course genre-wise considered to be historical mysteries (and ones that usually do deal with murder or at least potential murder), I for one have for the most part perused and enjoyed The Queen's Head not so much for the mystery (for the eponymous whodunnit), but more because the novel is an interesting and enlightening (as well as entertaining) sojourn into late 16th century England, with especially how the lives and the times of the various and diverse Lord Westfield's Men actors are depicted and presented very much personally appreciated (both negatives and positives, and often with a certain amount of humour and even at times delicious satire thrown in for good measure).
However, that all having been said, and as much as I have definitely enjoyed The Queen's Head and will likely also continue reading the remaining novels of the series (as a historical mystery series set in Tudor era England, amongst actors and a budding playwright akin to William Shakespeare is right up my reading alley so to speak), I do have to offer a more than necessary caveat that there seems to be a rather massive amount of specifically and sometimes rather vehement anti-Catholic sentiment portrayed. And while historically speaking this does indeed make quite a bit of sense, as The Queen's Head is set in 1588, and thus in the year of the defeat of the Spanish Armada, and at a time where Queen Elizabeth I was for a certainty often in danger from Catholic-supported and financed assassination attempts (as in this very story, as in The Queen's Head, in fact), I do still find it more than a trifle problematic and somewhat off-putting at times that almost EVERY SINGLE Catholic individual is portrayed by author Edward Marston as negative, as untrustworthy, as a potential terrorist (and that this also does seem to be a recurring trend not only in The Queen's Head, but also in many of the sequels). And while I have absolutely no issues with the fact that the author shows Catholic villains attempting to assassinate the monarch (as that is indeed the historical truth of the matter, namely that Queen Elizabeth I was often in danger of assassination by religious radicals bent on reestablishing Catholicism as the main religion in England), the general sentiment of pure negativity and even authorial anger at anything and anyone remotely Catholic seems almost like very much a personal vendetta that transcends even historic fact and truth and simply becomes more than a bit tedious and uncomfortably worrisome, as I really do have to somewhat believe (at least from my reading of the text and subtext of The Queen's Head) that Edward Marston writes as an author who seems to almost despise ALL Catholics out of principle (and that is not really acceptable).
But while The Queen's Head (and the rest of the novels of Marston's Nicholas Bracewell series) are indeed and of course genre-wise considered to be historical mysteries (and ones that usually do deal with murder or at least potential murder), I for one have for the most part perused and enjoyed The Queen's Head not so much for the mystery (for the eponymous whodunnit), but more because the novel is an interesting and enlightening (as well as entertaining) sojourn into late 16th century England, with especially how the lives and the times of the various and diverse Lord Westfield's Men actors are depicted and presented very much personally appreciated (both negatives and positives, and often with a certain amount of humour and even at times delicious satire thrown in for good measure).
However, that all having been said, and as much as I have definitely enjoyed The Queen's Head and will likely also continue reading the remaining novels of the series (as a historical mystery series set in Tudor era England, amongst actors and a budding playwright akin to William Shakespeare is right up my reading alley so to speak), I do have to offer a more than necessary caveat that there seems to be a rather massive amount of specifically and sometimes rather vehement anti-Catholic sentiment portrayed. And while historically speaking this does indeed make quite a bit of sense, as The Queen's Head is set in 1588, and thus in the year of the defeat of the Spanish Armada, and at a time where Queen Elizabeth I was for a certainty often in danger from Catholic-supported and financed assassination attempts (as in this very story, as in The Queen's Head, in fact), I do still find it more than a trifle problematic and somewhat off-putting at times that almost EVERY SINGLE Catholic individual is portrayed by author Edward Marston as negative, as untrustworthy, as a potential terrorist (and that this also does seem to be a recurring trend not only in The Queen's Head, but also in many of the sequels). And while I have absolutely no issues with the fact that the author shows Catholic villains attempting to assassinate the monarch (as that is indeed the historical truth of the matter, namely that Queen Elizabeth I was often in danger of assassination by religious radicals bent on reestablishing Catholicism as the main religion in England), the general sentiment of pure negativity and even authorial anger at anything and anyone remotely Catholic seems almost like very much a personal vendetta that transcends even historic fact and truth and simply becomes more than a bit tedious and uncomfortably worrisome, as I really do have to somewhat believe (at least from my reading of the text and subtext of The Queen's Head) that Edward Marston writes as an author who seems to almost despise ALL Catholics out of principle (and that is not really acceptable).
March 24, 2010
First Sentence: Death stalked her patiently throughout the whole of her imprisonment.
Mary, Queen of Scots, is dead and the Spanish Armada has been defeated. In celebration, Lord Westfield’s Men is preparing to present a new play, “The Loyal Subject.” The company is beset with problems beginning with the death of an actor in a bar brawl. Nicholas Bracewell, the company’s manager and keeper of the books, was present and promised to find his friend’s killer. As other incidents occur, Bracewell suspects much more is at stake.
After a very dramatic opening, Marston moves on to bring the inner working of Elizabethan theater to life. Some elements--the hard work, competitiveness, jealousies, stagecraft and disappointment—haven’t changed through time.
It is interesting to learn about the role of the keeper of the books and to learn how special effects were done. It is the structure of acting companies and the legal and political aspects were very different and make this fascinating.
The sense of time and place are elements I should liked to have been stronger. It was there but not as evocative as it could have been. However, one of the appeals of stories set in London is that many of the locations still exist today. The inclusion of a map would have been nice. The dialogue flowed well and did hint to the period. That did help.
I like Marston’s characters. Even those who play to stereotype are enough developed that they don’t read flat. Bracewell is certainly the most developed of the characters and is very interesting. I learn enough about who he is to have gained my empathy, while knowing there is much more I want to learn.
I felt the plot was very well done with a very good flow to it. It certainly kept my interested to where it was one of those books I read straight through. The climactic scene was very well done, even for my having figured it out. However, there is a very good twist on motive and its revelation leads to one of the truest lines written.
While I enjoyed the Elizabethan theater series by Philip Gooden, judging only by this first book, this may be a better series. The second book awaits me.
THE QUEEN’S HEAD (Hist Mys-Nicholas Bracewell-London-Elizabethan/1500s) – VG
Marston, Edward – 1st in Bracewell series
St. Martin’s Press, ©1998, US Hardcover – ISBN: 0312029705
Mary, Queen of Scots, is dead and the Spanish Armada has been defeated. In celebration, Lord Westfield’s Men is preparing to present a new play, “The Loyal Subject.” The company is beset with problems beginning with the death of an actor in a bar brawl. Nicholas Bracewell, the company’s manager and keeper of the books, was present and promised to find his friend’s killer. As other incidents occur, Bracewell suspects much more is at stake.
After a very dramatic opening, Marston moves on to bring the inner working of Elizabethan theater to life. Some elements--the hard work, competitiveness, jealousies, stagecraft and disappointment—haven’t changed through time.
It is interesting to learn about the role of the keeper of the books and to learn how special effects were done. It is the structure of acting companies and the legal and political aspects were very different and make this fascinating.
The sense of time and place are elements I should liked to have been stronger. It was there but not as evocative as it could have been. However, one of the appeals of stories set in London is that many of the locations still exist today. The inclusion of a map would have been nice. The dialogue flowed well and did hint to the period. That did help.
I like Marston’s characters. Even those who play to stereotype are enough developed that they don’t read flat. Bracewell is certainly the most developed of the characters and is very interesting. I learn enough about who he is to have gained my empathy, while knowing there is much more I want to learn.
I felt the plot was very well done with a very good flow to it. It certainly kept my interested to where it was one of those books I read straight through. The climactic scene was very well done, even for my having figured it out. However, there is a very good twist on motive and its revelation leads to one of the truest lines written.
While I enjoyed the Elizabethan theater series by Philip Gooden, judging only by this first book, this may be a better series. The second book awaits me.
THE QUEEN’S HEAD (Hist Mys-Nicholas Bracewell-London-Elizabethan/1500s) – VG
Marston, Edward – 1st in Bracewell series
St. Martin’s Press, ©1998, US Hardcover – ISBN: 0312029705
November 24, 2013
This was a fabulous, fast-paced story about the book holder (akin to a stage manager) for an Elizabethan theatre group – Lord Westfield’s men – named Nicholas Bracewell and how, after a friend is brutally murdered, he’s tasked with discovering the identity of the killer and seeking justice.
Ostensibly a murder mystery, this novel is so much more. The wonderful backdrop of the theatre is used to great effect as is the year this story is set – 1588, the year of the defeat of the Spanish Armada and the one in which Elizabeth Ist’s reputation as a sovereign not to be trifled with was cemented.
Replete with wonderful details of the era, of the workings of theatre - from the writing of plays, the commissioning of them, rehearsals, attendance, costuming, and the way in which actors were viewed (at this period in Elizabeth’s reign at least it was with a great deal more respect than even ten years earlier), The Queen’s Head (which is both the name of the inn in which the troupe do most of their performances as well as gesturing to plot) is a rollicking story that brings to life an interesting group of characters, an occupation and way of life that is both exciting, difficult and unpredictable and a period that is celebrated as much for its artistic achievements, science, political turmoil and exploration as it is violence and disease – all of which are affectionately and respectfully acknowledged in this novel.
Loved this gem and have already started the next book, The Merry Devils.
Ostensibly a murder mystery, this novel is so much more. The wonderful backdrop of the theatre is used to great effect as is the year this story is set – 1588, the year of the defeat of the Spanish Armada and the one in which Elizabeth Ist’s reputation as a sovereign not to be trifled with was cemented.
Replete with wonderful details of the era, of the workings of theatre - from the writing of plays, the commissioning of them, rehearsals, attendance, costuming, and the way in which actors were viewed (at this period in Elizabeth’s reign at least it was with a great deal more respect than even ten years earlier), The Queen’s Head (which is both the name of the inn in which the troupe do most of their performances as well as gesturing to plot) is a rollicking story that brings to life an interesting group of characters, an occupation and way of life that is both exciting, difficult and unpredictable and a period that is celebrated as much for its artistic achievements, science, political turmoil and exploration as it is violence and disease – all of which are affectionately and respectfully acknowledged in this novel.
Loved this gem and have already started the next book, The Merry Devils.
July 27, 2016
The year is 1588, and England's triumph over the Spanish Armada is the topic of choice through all layers of society, including the colourful, chaotic world of the theater. Nicholas Bracewell, bookholder of Lord Westfield's Men, has his hands full as the company prepares a new play celebrating the fleet's success when a tavern brawl ends with the death of actor Will Fowler. A replacement must be found swiftly, and Bracewell has a promise to fulfill: to catch his friend's killer. It soon seems like Fowler's death was not an isolated incident, however, as Lord Westfield's Men continue to be plagued by accidents, robberies and other troubles. But the show must go on, and Bracewell will let nothing deter him from finding the culprit.
A solid, enjoyable Elizabethan murder mystery, bringing alive the tumultuous world of the theater in a well-plotted story with unexpected twists.
A solid, enjoyable Elizabethan murder mystery, bringing alive the tumultuous world of the theater in a well-plotted story with unexpected twists.
January 20, 2009
This was a *quite* good historical mystery, miles better than many of the others out there in plot, characterisation, and historical detail. Nicholas, the protagonist, is the book holder (read 'stage manager') for an Elizabethan theatre troupe, and this first novel in the series occurs right at the time of the Spanish Armada. The mystery is extremely organic, as is the decision to investigate it, and much of the focus of the book is on Nicholas trying to manage the disparate personalities of the company while finding time to chase down clues, without any of the apparatus of a modern detective -- no police, no ideas of evidence analysis, no forensics, nothing but determination and some amount of luck.
It isn't getting five stars for a few reasons:
1. A creepy depiction of a male homosexual predator, which while not atypical for either the period of the novel (1588) or the period in which the author was writing (1989), still bothered me a lot. The character could be made somewhat more sympathetic in future novels without losing any period realism, and I hope that happens.
2. The ending resolution felt a little out of left field, and a little rushed, and a little difficult to believe.
A very good first novel, and I plan to read the next in the series & see how things develop.
It isn't getting five stars for a few reasons:
1. A creepy depiction of a male homosexual predator, which while not atypical for either the period of the novel (1588) or the period in which the author was writing (1989), still bothered me a lot. The character could be made somewhat more sympathetic in future novels without losing any period realism, and I hope that happens.
2. The ending resolution felt a little out of left field, and a little rushed, and a little difficult to believe.
A very good first novel, and I plan to read the next in the series & see how things develop.
April 12, 2021
i was fooled by this book. I didn't think it was going to be much. The characters (and there are many) all seemed more caricatures than actual people. And the first murder was staged in the same manner as Mercutio's death in Romeo and Juliet. I feared that Marston was going to be too "clever" to create a good mystery. I was wrong. Not only did I not guess the villain's identity, but I found myself consistently suspecting the wrong person only to be foiled along with the protagonist cum detective. I have always been a fan of Elizabethan history and Marston used that setting and historical background to give weight and credibility to much of the action. Edward Marston's book was a nice surprise.
July 16, 2020
A fun mystery set in the world of the Elizabethan theatre.
Marston balances snippets of everyday life with the intrigue of rival acting companies and the ever-present religious politics of the age. The characters were a fun portrayal of various walks of life. While I may not be rushing out to declare that everyone MUST read it, I enjoyed it enough to try some of the others in this series as a nice escape from reality.
Marston balances snippets of everyday life with the intrigue of rival acting companies and the ever-present religious politics of the age. The characters were a fun portrayal of various walks of life. While I may not be rushing out to declare that everyone MUST read it, I enjoyed it enough to try some of the others in this series as a nice escape from reality.
October 6, 2024
A historical mystery set in Elizabethan England? Intriguing. Romp and splendour of the theatre? Sold.
Thank you Alice for loaning me The Queen’s Head and introducing me to Edward Marston’s wondrous writing. Marston has the innate ability to pull you into the colourful and grim world of old London, with its dangerous streets and dens. It reads very much like the time, or how we imagine it to have been. Certainly a well told tale, and how easily it was to be embroiled in plot and murderous deeds.
Thespian Will Fowler’s bloody death by sword in a dingy tavern is so shocking that it was so easy to get swept up and want to get to the end to find his killer.
This was stacked full of tension and historical intrigue.
The execution of Queen Elizabeth’s rival, Mary Queen Of Scots, at Fotheringay Castle, brings with it a violent retaliation. Not even a jolly, raucous tavern is safe for a troupe of actors belonging to a stage company. I really loved the introduction of the troupe, who this book centres on. Friends and acting companions of the slain Fowler, targeted by a mysterious figure.
Thank you Alice for loaning me The Queen’s Head and introducing me to Edward Marston’s wondrous writing. Marston has the innate ability to pull you into the colourful and grim world of old London, with its dangerous streets and dens. It reads very much like the time, or how we imagine it to have been. Certainly a well told tale, and how easily it was to be embroiled in plot and murderous deeds.
Thespian Will Fowler’s bloody death by sword in a dingy tavern is so shocking that it was so easy to get swept up and want to get to the end to find his killer.
This was stacked full of tension and historical intrigue.
The execution of Queen Elizabeth’s rival, Mary Queen Of Scots, at Fotheringay Castle, brings with it a violent retaliation. Not even a jolly, raucous tavern is safe for a troupe of actors belonging to a stage company. I really loved the introduction of the troupe, who this book centres on. Friends and acting companions of the slain Fowler, targeted by a mysterious figure.
October 30, 2022
what
edit: no plot, rubbish writing, no character development, no build-up, the villain wasnt villaining, only positive about it was i managed to get through it
edit: no plot, rubbish writing, no character development, no build-up, the villain wasnt villaining, only positive about it was i managed to get through it
April 1, 2016
First thought: A book with a stage manager protagonist? Sign me up! (And not just because it fulfills a category on my reading challenge)
And then I read it.
Look, it’s fine. But I found the mystery to be convoluted and a bit far-fetched. There are subplots that don’t really go anywhere and add little to the whole.
I was also hoping for the time period to come alive and it… didn’t.
Same with the theatre scenes.
It’s obvious that the author did a bit of historical research but the execution was clunky.Details were included as information without any real artistry and left the prose dry and unexciting
It’s not a terrible read just not a compelling one
(PopSugar 2016 book challenge #24. A book with a protagonist that has your occupation )
And then I read it.
Look, it’s fine. But I found the mystery to be convoluted and a bit far-fetched. There are subplots that don’t really go anywhere and add little to the whole.
I was also hoping for the time period to come alive and it… didn’t.
Same with the theatre scenes.
It’s obvious that the author did a bit of historical research but the execution was clunky.Details were included as information without any real artistry and left the prose dry and unexciting
It’s not a terrible read just not a compelling one
(PopSugar 2016 book challenge #24. A book with a protagonist that has your occupation )
August 9, 2022
Marston is a good storyteller. However, there was no need for a child molester in this book- especially one who is allowed to continue with the acting company. The poor kid. Some of the actors “watched out for him” but that’s it. I liked one person in this book- Bracewell. Marston keeps things moving, and I think that’s a good thing. But the whole “gay man-actor-must be a child molester- since he’s gay” thing is abhorrent. What a hideous stereotype. On second thought, this should be worth two stars. There’s just no way a child molester enhanced this story. And stop the stereotyping.
August 3, 2016
Absolutely terrible.
Glbt-interest tag: the sole queer character is a pedophile and child predator. Gender politics tag: female characters are whore (and thus abused or killed), widows (and thus noble), or married (and thus harridans).
Glbt-interest tag: the sole queer character is a pedophile and child predator. Gender politics tag: female characters are whore (and thus abused or killed), widows (and thus noble), or married (and thus harridans).
December 24, 2015
A good read - looking forward to reading the next one in the series
December 5, 2022
1588-ieji, ką tik nugalėta ispanų Nenugalimoji Armada ir Londono teatrai, skubėdami apeiti vieni kitus, stato pjeses tai pergalei pagerbti. Ne išimtis ir lordo Westfieldo globojama aktorių trupė. Tik štai bėda – atsitiktiniame kivirče knaipėje nužudomas vienas iš trupės aktorių. Pamaina greitai surandama, tačiau nesėkmės ir nelaimės ir toliau persekioja aktorius. Nicholas Bracewellas, trupės... ė... „bookholder“, kas tai bebūtų (pagal pareigas labiausiai gal tiktų šiuolaikinio prodiuserio atitikmuo), ima įtarti, kad tai ne sutapimas ir kad aktoriaus, kurio žudiką jis pasižadėjo surasti, mirtis – irgi anaiptol neatsitiktinė.
Istorinis detektyvas beveik Shakespeare‘o laikų teatro fone. Kaip detektyvas – gana skystokas, bent jau gerus pirmus du trečdalius, vėliau kiek pagerėja. O štai fonas ir dekoracijos nutapyti neprastai.
Istorinis detektyvas beveik Shakespeare‘o laikų teatro fone. Kaip detektyvas – gana skystokas, bent jau gerus pirmus du trečdalius, vėliau kiek pagerėja. O štai fonas ir dekoracijos nutapyti neprastai.
January 11, 2021
Fun, well written/plotted. Ends a bit abruptly though. Marston's novel is based in Elizabethan London at the time of the Armada. He uses political and religious cross currents effectively. I think I'll read anothed.
November 19, 2024
This was genuinely terrible. There were so many characters who all had the same personality that I couldn’t distinguish between them. Safe to say I’m glad I picked this up for free from a book sale at a church rather than paying anything for it…
May 4, 2022
3.5 ⭐️
March 5, 2021
I could not get into this at all, and did not finish it.
I was expecting more about the theatre and the players, but there was more about politics and wars, which, to be fair WAS going on at the time, but is just not that interesting for me.
As always, when I am a ways into a book and not really into it, I'm probably not going to finish it. When there are hundreds of other books on my TBR list [literally!] that I am dying to get to, it just doesn't make sense to stick with a book I'm not particularly enjoying.
Nothing against this book, just not a fit for me.
I was expecting more about the theatre and the players, but there was more about politics and wars, which, to be fair WAS going on at the time, but is just not that interesting for me.
As always, when I am a ways into a book and not really into it, I'm probably not going to finish it. When there are hundreds of other books on my TBR list [literally!] that I am dying to get to, it just doesn't make sense to stick with a book I'm not particularly enjoying.
Nothing against this book, just not a fit for me.
March 6, 2014
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Beautifully researched, cleverly plotted, and totally in harmony with the post-Armada time in which this 'Tud-unnit' is set, it nevertheless, is a disappointingly lucklustre read...
... but the overall impact cannot be judged until the back cover is shut. *wink wink*
----
Fotheringay Castle
February 1587
Death stalked her patiently throughout the whole of her imprisonment.
All else is on the back burner as I so want to read this. What a fantastic cover - kudos for that alone!
blurb - 1587, and Mary, Queen of Scots, dies by the executioner's axe, her head, shorn of its auburn wig, rolling across the platform. Will her death end the ceaseless plotting against Mary's red-haired cousin, Elizabeth?
1588, the year of the Spanish Armada, is a time of more terror and triumph, not just for queen and court but for the whole of England. The turmoil is reflected in its theatres and under the galleries of inns like London's The Queen's Head where Lord Westfield's Men perform. The scene there on grows even more tumultuous when one of the actors is murdered by a mysterious stranger during a brawl.
Nicholas Bracewell, the company's bookholder, a role far wider than mere producer, faces two immediate repercussions. The first is to secure a replacement acceptable to its temperamental star -- and chief shareholder -- Lawrence Firethorn. The second is to keep his promise to the dying Will Fowler and catch his killer.
Soon further robberies, accidents, and misfortunes strike Lord Westfield's Men even as their stage successes swell. Bracewell begins to suspect a conspiracy, not a single murderous act, but where lies the proof? Then the players are rewarded with the ultimate accolade -- an appearance at court -- and the canny bookholder senses the end to the drama is at hand....
First published to great acclaim in 1988, The Queen's Head anticipated the lure of bawdy, boisterous, yet elegant epics like Shakespeare in Love. Actor and playwrite Marston has followed with, to date, ten more lusty, historically grounded, theatrically sound Bracewell mysteries that explore the face of England and reveal his deep love for its rich literary and dramatic heritage.
Beautifully researched, cleverly plotted, and totally in harmony with the post-Armada time in which this 'Tud-unnit' is set, it nevertheless, is a disappointingly lucklustre read...
... but the overall impact cannot be judged until the back cover is shut. *wink wink*
----
Fotheringay Castle
February 1587
Death stalked her patiently throughout the whole of her imprisonment.
All else is on the back burner as I so want to read this. What a fantastic cover - kudos for that alone!
blurb - 1587, and Mary, Queen of Scots, dies by the executioner's axe, her head, shorn of its auburn wig, rolling across the platform. Will her death end the ceaseless plotting against Mary's red-haired cousin, Elizabeth?
1588, the year of the Spanish Armada, is a time of more terror and triumph, not just for queen and court but for the whole of England. The turmoil is reflected in its theatres and under the galleries of inns like London's The Queen's Head where Lord Westfield's Men perform. The scene there on grows even more tumultuous when one of the actors is murdered by a mysterious stranger during a brawl.
Nicholas Bracewell, the company's bookholder, a role far wider than mere producer, faces two immediate repercussions. The first is to secure a replacement acceptable to its temperamental star -- and chief shareholder -- Lawrence Firethorn. The second is to keep his promise to the dying Will Fowler and catch his killer.
Soon further robberies, accidents, and misfortunes strike Lord Westfield's Men even as their stage successes swell. Bracewell begins to suspect a conspiracy, not a single murderous act, but where lies the proof? Then the players are rewarded with the ultimate accolade -- an appearance at court -- and the canny bookholder senses the end to the drama is at hand....
First published to great acclaim in 1988, The Queen's Head anticipated the lure of bawdy, boisterous, yet elegant epics like Shakespeare in Love. Actor and playwrite Marston has followed with, to date, ten more lusty, historically grounded, theatrically sound Bracewell mysteries that explore the face of England and reveal his deep love for its rich literary and dramatic heritage.
This entire review has been hidden because of spoilers.
February 7, 2021
Entertaining and fairly compelling, however the prose is not particularly sophisticated and I found small sections a bit tedious. The characters were colourful but many lack depth. I did enjoy it though and will likely read the next one in the series.
February 10, 2014
The second Edward Marston novel I've read and again I found it to be an easy, pleasurable read with a good feel for the past. Before i started to read the novel I wasn't too sure about the theatrical setting as its not something i would usually find interesting, but by the end of the book i was thoroughly enjoying the insight into how a historical theatrical company worked. I was kept guessing for a while as to the identity of the person behind the plot, but I had identified the true culprit a couple of chapters before it was revealed which is always a shame. The only disappoint i really had with the novel were the similarities of the ending with the previous Edward Marston novel I had read, but that is probably just unluckiness on my part - if i hadn't read them so close together then i probably wouldn't have noticed.
Overall well worth a read
Buy The Queen's Head (Nicholas Bracewell) from Amazon.co.uk
Overall well worth a read
Buy The Queen's Head (Nicholas Bracewell) from Amazon.co.uk
October 3, 2020
DNF at four chapters. The premise was interesting to me but, while the prose is generally good, there were too many issues for me to continue.
The historical detail tends to be presented in the form of lists rather than being woven into the narrative: a list of theatre goers' jobs here, a list of clothing items there etc. which reads like research was done and then bullet points from the research were pasted in rather than incorporated.
The person behind the murder was obvious from the very moment it happened and the author doesn't entirely play fair; writing in 3rd person omniscient they tell us lies about how a character feels. I skipped to the last chapter to confirm and yes, it was the obvious culprit.
What really pushed me over the edge though was the sole gay character being presented as a child sex predator and having a passage dedicated to his attempting to groom/rape an 11 year old boy. The boy escapes but this was in the early going and presumably there was more to come. Reading the last chapter indicates this predator is still in the theatre company so apparently gets no sort of comeuppance. In any case, it was revolting and not something I can stomach reading any more of.
The historical detail tends to be presented in the form of lists rather than being woven into the narrative: a list of theatre goers' jobs here, a list of clothing items there etc. which reads like research was done and then bullet points from the research were pasted in rather than incorporated.
The person behind the murder was obvious from the very moment it happened and the author doesn't entirely play fair; writing in 3rd person omniscient they tell us lies about how a character feels. I skipped to the last chapter to confirm and yes, it was the obvious culprit.
What really pushed me over the edge though was the sole gay character being presented as a child sex predator and having a passage dedicated to his attempting to groom/rape an 11 year old boy. The boy escapes but this was in the early going and presumably there was more to come. Reading the last chapter indicates this predator is still in the theatre company so apparently gets no sort of comeuppance. In any case, it was revolting and not something I can stomach reading any more of.
August 22, 2017
Jolly mystery set in the world of the Elizabethan theatre. Nicholas Bracewell, manager of the company called Lord Westfield's Men, accompanies his friend Will Fowler to a tavern to celebrate a successful performance. Out of nowhere a fight starts, and minutes later Will is stabbed to death by a ruffian with a red beard. Nicholas tries to track down the killer, while at the same time keeping peace among the volatile actors and preparing for a performance at court.
This is good fun, with a sprinkling of interesting information about Elizabethan London and the theatre of the time. The plot was quite lively and reasonably convincing, although Nicholas' explanation of how he identified the guilty party was slightly weak. Lots of amusing characters amongst the company, and Nicholas himself is a wise and likeable protagonist.
Would read more from this series for light-hearted fun.
This is good fun, with a sprinkling of interesting information about Elizabethan London and the theatre of the time. The plot was quite lively and reasonably convincing, although Nicholas' explanation of how he identified the guilty party was slightly weak. Lots of amusing characters amongst the company, and Nicholas himself is a wise and likeable protagonist.
Would read more from this series for light-hearted fun.
December 27, 2019
Read again 06/15/14 for Maze mystery discussion group.
Marston writes several historical mystery series. Of all those i have sampled, this is my favorite series. Nicholas Bracewell is the "bookholder" for an acting company in Elizabethan London. Such companies needed noble sponsors (here Lord Westfield) and had to have all new plays reviewed by the Queen's Master of Revels to assure acceptable political and religious content.
In this story one of the actors is killed and Nicholas promises to find the murderer. Alternating between play production and detection, Nicholas finds himself in some tough areas of London where he finally deduces the killer.
The theater scenes are especially well done and this series will give you a taste of what life must have been like for Shakespeare.
Marston writes several historical mystery series. Of all those i have sampled, this is my favorite series. Nicholas Bracewell is the "bookholder" for an acting company in Elizabethan London. Such companies needed noble sponsors (here Lord Westfield) and had to have all new plays reviewed by the Queen's Master of Revels to assure acceptable political and religious content.
In this story one of the actors is killed and Nicholas promises to find the murderer. Alternating between play production and detection, Nicholas finds himself in some tough areas of London where he finally deduces the killer.
The theater scenes are especially well done and this series will give you a taste of what life must have been like for Shakespeare.
February 12, 2013
I should like this - it's my kind of setting - but no. Very disappointing. Completely uninvolving. The ending seems very rushed and the twist comes out of nowhere, but not in a good way. If you look back at earlier parts, they're basically lying to the reader: it insists on telling the reader everything, instead of letting us work anything out; it tells us how one of the characters is feeling early on but once you find out the twist, what we were told was obviously untrue. Misleading the reader in a clever way would be fine but just lying is not. And why on earth does he use characters' full names every single time he mentions them? The book would be half the length if he deformalised and chucked a few surnames out. Clunky.
February 13, 2013
This is the first in a series of books with Nicholas Bracewell as the hero set in Elizabethan England and, even more importantly, in Elizabethan theatre. A great introduction to the wild, competitive, ego-driven and unstable world of the theatre of the time. I found the plotting a little awkward now and then - perhaps beginniner's weaknesses - and the figure of Blakewell almost impossibly noble. But the sheer energy of the theatrical world and the streets of London drove a very fast-paced, intriguing tale. I'll read the second in the series.
July 11, 2014
I wasn't convinced.I enjoyed the theatrical info and some of the characters, but the mystery did not engage me. The cry for revenge at the beginning was not powerful and I don't see Nick as being willing to go searching for the murderer and the last bit of legerdemain that captures the villain is unlikely on so very many fronts. On the other hand the whole thing was a fun romp (if chasing a murderer can be said to be a romp)and I enjoyed the visit to the Elizabethans. I don't believe that cradle, though, nor a few other details.
June 8, 2014
Oh, that was fun! I'm not enough of an expert on the period to know if there were any minor errors, but it felt right, taking us into the messy and dangerous world of Elizabethan theatre in what felt like a realistic way.
Colourful and believable characters, and a number of interesting inter-twined mysteries, with a final resolution that left me guessing right up to the last.
Onward to the next book in the series, right now!
Colourful and believable characters, and a number of interesting inter-twined mysteries, with a final resolution that left me guessing right up to the last.
Onward to the next book in the series, right now!
March 28, 2012
I'm finding this hard to get through. I like the setting and the characters, but I find the way it is written very distancing. Part of it is that the prose is quite diegetic - there's a lot of telling and little showing. But also I'm finding the actual word-choice very neutral.
March 23, 2016
Initially felt somewhat two-dimensional and took a while to get going. Did not get a real feel for the age as the scenes in London felt exactly that, sets or scenes without a real background to hook them on. However, the central plot device is a novel one and the book reaches a reasonable climax.
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