It's a case where nothing is quite what it seems: not Clarion's motives for being there, not the bonds attaching the members of the theatre company, and most of all, not what Detective Peter Diamond is seeing and feeling as he struggles to isolate the actual crime and the escalating criminal or criminals involved. Is "all the world" a stage? What is giving him such a dose of theater phobia as he pursues fleeting glimpses of the solution? Is it a sixth sense for a ghost, or for evil? Or is it more personal?
With a curt, 'Do you mind?' Titus made a beeline for the steps to the royal circle entrance. He had such an air of authority that no one challenged himm or took photos and no one gave Diamond a second look.This is the eleventh Peter Diamond mystery, and it's a quiet, often tender one -- but as I look back on my favorites of Lovesey's, such as Diamond Solitaire, I see that's how he has generally crafted this series, in spite of the genre label of "crime." In fact, what's changed during the series are the violence and darkness now almost commonplace in today's thrillers and police procedurals. Compared to, say, a Lee Child or Tana French book, Lovesey's writing now appears gentle, almost in the mood of a traditional "house mystery" moved to the police station and downtown.
If they had, they would have seen his face taut with stress.