After stumbling upon a mysterious crime, Peter Kerrigan is drawn into a web of intrigue surrounding Marsh Manor and its hidden treasure. With the librarian's murder hinting at the truth, Kerrigan becomes determined to solve the puzzle and locate the fabled riches. The key lies in deciphering a trail of Shakespearean quotes adorning the Manor's library. However, as Kerrigan races against Lord Claydon's descendants and a dangerous criminal, the treasure hunt takes a perilous turn.
When a directorial debut turns deadly, it falls to costume designer Charlotte Fairfax to unmask the culprit in award-winning author Elizabeth J. Duncan’s third Shakespeare in the Catskills mystery Charlotte Fairfax has another murder on her hands as she prepares for the latest performance of the Catskills Shakespeare Theater Company, Much Ado About Nothing. The company’s steady growth enables them to cast star British actress Audrey Ashley, who arrives on scene to play the lead role of Beatrice. But things immediately get more complicated when Audrey insists the company replace the current director with new, up and coming British director Edmund Albright. Edmund plans to change the popular romantic comedy, which alienates several people associated with the production. And the list of people he upsets only grows: the laid off former director, the hotel owner’s secretary, and even Audrey herself. Just as Edmund’s plans are about to come to fruition, his body is discovered on his sofa, holding a gun in his hand. His death is quickly ruled a suicide but Charlotte thinks otherwise. Why would Edmund, on the brink of greatness, kill himself? With a whole cast of characters to investigate, Charlotte is determined to unmask each one before it’s final curtain call on the whole production.
William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death by Shakespeare, as Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Kathryn investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure.
A collection of Shakespearean detective stories featuring such private eyes as Falstaff, Mark Antony and Orlando. The cases they investigate range from the death of Romeo and Juliet to Cleopatra's suicide.
Innocent or guilty, or a more nuanced truth, in this Ripper-style killing Shortly after NYPD Chief of Detectives Thomas Byrnes publicly criticized the London police for failing to capture Jack the Ripper, he received a letter purportedly from Jack himself saying New York was his next target. Not long after, Byrnes was confronted by his own Ripper-style murder case in the death of Carrie Brown, a.k.a. "Old Shakespeare," a colorful character who worked as a prostitute and had a penchant for quoting Shakespeare. Given the near-hysteria surrounding this vicious murder soon after the Jack the Ripper murders in London, people were worried that Jack might have actually come to America. The detective bureau finally arrested Amir Ben Ali, an Algerian immigrant. The newspapers, however, immediately criticized Byrnes for moving too quickly, suggesting that he had tried to save face by pinning the crime on an easy target. When the verdict of murder in the second degree was announced, the papers erupted in anger and disbelief. With the aid of the French consulate, they embarked on a 10-year campaign to have Ben Ali pardoned and finally won his release by producing new evidence. Immediately upon Ben Ali's departure for France, fresh evidence of his guilt surfaced. Was Ben Ali falsely convicted or falsely exonerated? And if he did not commit the murder, then who did? Issues of false convictions, fake news, illegal immigration, police corruption, and racial prejudice are common tropes in today's news cycles. The East River Ripper demonstrates that these are not simply matters of recent vintage and seeks to answer such questions in trying to determine whether and in what way justice miscarried.
Fledgling playwright Will Shakespeare and Symington Smythe, ostler and would-be thespian, and are now firmly ensconced in their theater company . . . But due to the plague, all of London's theaters have been closed, its players now broke, forcing our intrepid duo to seek employment in other lines of work--Smythe smithing and Will poeting. Then a murder rocks all of London. Shakespeare and Smythe decide to solve the crime, but they must rely on their wits to survive both the conspiriacies and the cutthroat business of Elizabethan theater
A social history of how murder was committed, investigated, and punished in Stuart England examines a range of specific cases while discussing the seventeenth-century public's fascination with violence as reflected in its overflowing courtrooms and numerous crime-inspired works of art.
DigiCat Publishing presents to you this special edition of "The Shakespeare Murders" by A. G. Macdonell. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
“Much like Donna Tartt’s The Secret History, M. L. Rio’s sparkling debut is a richly layered story of love, friendship, and obsession...will keep you riveted through its final, electrifying moments.” —Cynthia D’Aprix Sweeney, New York Times bestselling author of The Nest "Nerdily (and winningly) in love with Shakespeare...Readable, smart.” —New York Times Book Review On the day Oliver Marks is released from jail, the man who put him there is waiting at the door. Detective Colborne wants to know the truth, and after ten years, Oliver is finally ready to tell it. A decade ago: Oliver is one of seven young Shakespearean actors at Dellecher Classical Conservatory, a place of keen ambition and fierce competition. In this secluded world of firelight and leather-bound books, Oliver and his friends play the same roles onstage and off: hero, villain, tyrant, temptress, ingénue, extras. But in their fourth and final year, good-natured rivalries turn ugly, and on opening night real violence invades the students’ world of make-believe. In the morning, the fourth-years find themselves facing their very own tragedy, and their greatest acting challenge yet: convincing the police, each other, and themselves that they are innocent. If We Were Villains was named one of Bustle's Best Thriller Novels of the Year, and Mystery Scene says, "A well-written and gripping ode to the stage...A fascinating, unorthodox take on rivalry, friendship, and truth."
