Directors Books

I read Ram Charan's "Boards at Work" from the library and liked it so much, I bought 7 copies.

A review and critique of how company's boards operate. The author strips the secrets away from the 'higher ups' whom govern companies and offers some guidelines to make them most effective.

With all of the recent turmoil in US companies caused by some high profile CEOs and boad of directors not maintaining the highest level of accountability and integrity, I pulled this book back off of the shelf for a re-read.

Ram Charan's advocacy of companies building a strong independent board, one that has more than rubber-stamp responsibilities is more timely now than when it was written. The author has worked with some of the best companies, boards and executives around...some have succeeded and others have failed. Yet, his insight is one that focuses on accountability and frequent, frank evaluations of both roles: the board director and the CEO.

I found the final chapters that focused on the Chairman/CEO evaluation to be insightful, detailed and organized to provide any director with the framework to ask the right questions.

I recommend this book now to all senior executives to read again, focusing on the evaluation process that your leader should be subject to. I recommend this book even more to those board directors that face a responsibility to shareholders and employees, that they will oversight the senior leaders and hold them accountable to building businesses with integrity...not just providing the right numbers on a scorecard.

This book shows top executives how to use the knowledge of, and open up communication channels with, board members. It details practices of several major corporations. The author highlights all key points increasing the value of this work. Several helpful self-evaluation instruments are included. This work offers sound advice on good governance. Recommended to executives and directors.

Dr. Carver's seminal work on nonprofit board governance updated to cover all the Sarbane-Oxley stuff. For those who care enough to study the very best.

Carver describes how to avoid common Board mistakes and actually create the Board in a leadership role. It seems so obvious now that I read it... but I had to read it to realize what the problems were with my previous and current Board experience.

This book is tailored to answer questions about every size of Board, so read it! It's a bit dense in its language, but useful to all of us.

I am currently a newly appointed Board chairperson for a non-profit Christian school and we have been using John Carver's Policy Governance model for the last year. While we still have a long way to go to incorporate it completely into the fabric of our board processes, we have made great strides toward it in only a year. This book is excellent in helping us get there. I have also read several of John Carver's guides and although they are somewhat small for the money you have to pay for them, they also contain very good information. We hope to study these principles as part of our on-going board training during this board fiscal year.

Not the most engrossing read, but for anyone serving on a board, it is a great resource.

Dr. Bruno Walter (1876-1962) was born to an upper middle class home in Berlin. He was a child prodigy composing and conducting with such ensembles as the Berlin Symphony. Walter became the assistant to the genius Gustav Mahler (1860-1911) winning the admiration of the prickly man of music.
Walter's music room was all of Europe and the great concert halls and recording studios heard his majestic music making in operas, symphonies and chamber music. He composed until 1910
forsaking creative compositon to become a peerless conductor of
works by Mahler; Beethoven;Brahms; Bruckner; Wagner; Verdi and
the other gods in music's pantheon.
Walter had seen and experienced tragedy. His younger daughter
Greta was murdered by her husband; he lost his homeland as the
Nazis conquered Austria and expelled him and other Jewish geniuses from the Reich; he had extramarital affairs but was a
decent, honorable and serious man. Walter loved literature becoming friendly with Thomas Mann the great novelists; he enjoyed reading, writing on music and was a strong but understanding conductor. He and Toscanini were friends.
This is a book for those who are familiar with classical music .
The book is very detailed and one almost feels like he/she
has seen a review of every concert conducted by Walter!
While this can become tedious to the general reader the overall
effect is one of respect for Walter.
In a time when classical music is a minority taste
the co-authors have done their homework producing a well written
and researched biograpy of Dr. Walter.

To say that the book "Bruno Walter: A World Elsewhere" is both a godsend and a delight would be an understatement-I cannot say enough good about this work. "A World Elsewhere" is a detailed and concise look at the conductors' life and career from birth until death-and in English.(My definite language of choice) It offers a style that is smooth and a pleasure to read and obviously involved alot of meticulous research. I have been an admirer of Bruno Walter for many years, and this biography is the perfect companion to my collection of Walters'recordings.It is an even-handed, multi-faceted depiction of the conductors' experiences. In reading "A World Elsewhere", I have learned much about the man that has enabled me to understand his life better; although the book does not go into alot of detail about Bruno Walters' connection with Anthroposophy, it has still inspired me to investigate this movement further. "A World Elsewhere" is a definite "must read" for anyone who admired Bruno Walter- a great conductor whose involvement with music touched and enriched many people's lives, and still does today.

Doug Rea

Finally, a full-length biography of Bruno Walter in English that devotees of his work can savor. Walter was widely recognized in his time as one of the master conductors, but his lack of flashiness, and sometimes fake air of saintliness, are off-putting to our star-obsessed age, so he hasn't received the recognition he deserves. SONY is sitting on a large back-catalog of important mono recordings by him that may never see the light of digital distribution -- or perhaps the imminent changes in music distribution wrought by the internet will eventually make it all available. Meanwhile, this very well-done, comprehensive biography will have to do. My biggest complaint is the lack of a complete discography as an appendix to the book - referring people to websites won't cut it yet, as too many folks still don't have regular internet access. Apart from that failing, this is a model of what an arts biography should be, a well-researched life, a serious consideration of issues of personal performing style, and decent pictures.

I probably qualify as a representative of the tribe of general readers, being mostly an interested amateur in what this book covers. As such, I found "Bruno Walter: a World Elsewhere" a very satisfying window into an era of music (and my childhood) that I was heretofore only vaguely aware of. In other words, it helped me fit together and fill out a picture of the musical and political and social history of the twentieth century, and that alone made it worthwhile.

But aside from that, it was simply great fun to read personal vignettes about so many eminent musicians, composers, conductors, and others. I found the book entertaining reading too, I mean to say--a dandy thing, in the summer (or any other time as well)!

While I may be an amateur as far as the contents of the biography go, I am also a professor and teacher of writing, and it was gratifying to find a biography written so smoothly that reading it was a pleasure, which is by no means the rule in scholarly biographies. There are notes and indeces aplenty for the scholars, but these should not dissuade the general reader--they do not get in the way in the least.

Add to this the fact that the volume is a handsomely designed one, with splendid pictures and an attractive typeface, and you have a book truly worth owning--or giving, for that matter.

An interesting format of letters back between friends about service on a board. I believe it's best read after other more structured infomation on the roles and functions of a board, then round out your perspective and understanding with this fine work. Very short, an easy read.

Called to Serve is recommended reading by all YMCA staff who work with policy making volunteers. It is designed as "letters to a friend" and covers the why, how and what in working with volunteers/boards in a conversational way. It is not overwhelming, nor does it get into a lot of governance issues. It leads you to understand the meaning and purpose of volunteerism and many, many lessons as to roles of volunteers, meeting development, strategic planning, effective committees, etc. I highly recommend it!

Truly an enjoyable, profitable read with many treasures for the one seeking advice on non-profit or volunteer boards.

This is packaged in letter form of author writing advice to a friend about such board memberhsip and leadership.

Just a few of the many gleans one will get: "the board does have obligations in the short term, but the future, with certain expectations, comes first"; "desigining an agenda by following the lines of a bell curve"; "one of the great time wasters for any group is the routine of giving progress reports when there's been no progress"; and the wonderful story of the postmaster who would not be bothered out of a meeting until he heard it was to receive thanks.

One reading this wants to be on any board that Max is on. Also, to invoke some of his wisdom tenderly yet passionately given in this work. Buy one for yourself and all members on your board. It will bring more joy to the member and more service to the organization.

De Pree's latest addition to his leadership books such as best-selling Leadership is an Art, Leadership Jazz, and Leading without Power, has turned his vast experience with non-profit boards into a helpful volume about creating an effective volunteer board. The book covers generalities like the expectations of board and staff, as well as specifics like how to construct an agenda. De Pree gets as specific as stating, "The chairperson should not permit anyone to read to the board." Amen to that! The book can be read quickly, referenced easily, and would help create basic principles and expectations for the board. Anyone working with a volunteer board would do well to provide a copy for each board member.

Though he hasn't made a movie since the 1950s, CB DeMille is still a name that says "Hollywood" to anyone who hears it. But, aside from The Ten Commandments, it's possible that most people today don't know who he was or what he did. Robert Birchard's book, written in a blithe, easy-going style -- as if you're talking to him -- reminds us who CB was and how important he was to the history of film. Using original sources as much as possible (rather than second and third hand accounts) Mr. Birchard has traced DeMille's career through his films, in the process seeing as many as are still available (sadly not all are). In doing so, he manages to trace much of DeMille's life and the life and history of Hollywood as it grows and learns to use new and better technology to tell its stories. This book is both easy to read, fun to read, and even (gasp!) informative! But don't let stop you from buying and enjoying it!

Mention Cecil B. DeMille to many serious film fans, and they might snicker. DeMille has a reputation for corny, big-budget epics like THE TEN COMMANDMENTS or THE GREATEST SHOW ON EARTH. DeMille also has a reputation as a dictatorial director whose politics were extremely conservative.

DeMille was not really that simple of a person. He made some very personal films, some really entertaining films, and even some daring films for the time. Although he was politically conservative, several of his films preached the dangers of religious intolerance. His battle with the Radio performer's union was a matter of principle, and not money. And while the stereotypical Hollywood director was modeled on him, part of it was an act. DeMille had a great respect for his actors, as long as they were professional. DeMille also had a sense of humor, as some of his cameo appearances in films show.

Robert Birchard has assembled an incredible history of DeMille's film and radio work. DeMille was around during the birth of Paramount in 1915, and he was still a successful director all of the way through the 1950s. Using DeMille's original papers, telegrams from studio moguls like Jesse Lasky, and other direct sources of information.

You will read about DeMille's struggles with technical issues like poorly perforated film stock, cameramen, good and difficult actors, and pressure from management to get his films completed on time and under budget. Mr. Birchard has viewed all of DeMille's films that still exist, and he gives a candid review of all of them. The book also contains very detailed cast and crew listings, a list of DeMille's many cameo appearances, and everything is painstakingly documented in the end notes.

I can guarantee you that after reading this book, you will be very tempted to rent or buy a Cecil B. DeMille film and rediscover this master director yourself.

Before David Lean, before Michael Curtiz, and waaay before Ridley Scott and Steven Spielberg, there was Cecil B. DeMille, the creator of gargantuan epics from Hollywood's Golden Age. C.B. started making movies the year that D.W. Griffith shot "The Birth of a Nation" and died when Steven Spielberg was a kid in Arizona, shooting home movies. In between, he wrote, produced, directed and acted in close to a hundred films

Today, of course, DeMille is remembered for "The Ten Commandments" and "The Greatest Show on Earth," but Demille was far more than that. The Great Man directed westerns and bedroom comedies, time travel adventures (in the silent days, no less), and even a musical.

Remarkably, most of Cecil B. DeMille's five decades of film work survive, and Robert Birchard has seen all fifty years worth, and written about each film in a lucid, graceful prose; Birchard has delivered a feast of information for anyone who's interested in the history of Hollywood. (Did you know that Charlton Heston, the star of "The Ten Commandments," was making less than Yul Brynner? Did you know that during the filming of C.B.'s FIRST "Ten Commandments" (a gargantuan hit in 1923) that the slaves who were supposedly sweltering in the Egyptian desert were actually extras on the central California coast FREEZING in chilly Spring weather, and who bundled themselves into coats as soon as the director yelled "Cut"? Mr. Birchard lets us in on the behind-the-scenes action on each of C.B's films (each movie has its own individual chapter), as well as when the films were shot, when they were released, what they cost and what they made at the box office.

This is a book for anyone who wants to know where American films have been...and how we got to where we are today.

This excellent book rates 5 stars for a very factual, no-nonsense in-depth research job on the work of famous director/producer, Cecil B. DeMille. And the emphasis is on his work in Hollywood (hence the title) not on DeMille himself as a person, although quite a few passages throughout this book do shed light on his character and mentality. Rather than a biography-style work with speculation, rumour and gossip, the author of this book has painstakingly searched for, found and quoted all kinds of correspondence and other written records to tell the story of DeMille's career. At times it was quite fascinating to read telegrams and other notes between DeMille and producers or other co-workers, for instance, and while explaining certain events or procedures in the film industry, these letters also reveal a lot about DeMille's thoughts and ways of doing business.

Another highlight for me personally is how the book goes through DeMille's films chronologically, with a chapter on almost every film he directed (and he produced many more) often giving a summary of the plot, which is especially interesting in the case of his early silent films which are not readily available at present. Besides details of cast, crew and plot, many business aspects of the film industry are related, giving an overall comprehensive story of the course of DeMille's career such as how he moved from one type of film to another, or from one studio to another when circumstances changed. Even though this book deals with hard facts only, it is easy and enjoyable to read, and does not get bogged down with too much detail. As a bonus, there are sections of many good photos, further notes and information in the appendixes for anyone who is looking for more in-depth material. For anyone interested in DeMille's work and getting a realistic look into the film industry from the early 1910s onwards, this book will definitely fit the bill.

Insightful and immediately useful. Having served in many of the roles that the book touches upon--CEO, Board Member, Chairman--I find that unlike other business strategy books, authors Conger, Lawler and Finegold provide a straightforward and powerful vision by which today's board can function much more effectively. If my own experience in using this resource within the boards I am involved in is any indication, any board that reads this book and implements its teachings will improve its effectiveness immensely.

I particularly like the balanced view of the legal responsibilities of today's board versus their leadership "voice" for the various stakeholders.

I am not a businessman, so I haven't read too many books on management, but I certainly am glad I read this one. I'm a scientist in the process of putting together a small biotech company. I have recently been turning to friends in the coporate wold as well as those still in B-school for advice about business structuring. When I asked about developing an effective board, one of them recommended this book by Conger, Lawler, and Finegold....what a education. The book deals with the basics of board structure, but then goes beyond using thier extensive database to craft an in-depth analysis of the inner-psychology behind these fundamental corporate entities. Putting together a solid board of directors has been one of the toughest hurdles for me, and this book has and will continue to be a wonderful resource for me.

This is a must read for every board director. Newly-electeds will find a treasure trove of important material; experienced directors will find data to either support or challenge their beliefs on corporate governance.

Bruce R. Ellig
Corporate Vice President HR (retired)
Pfizer, Inc.

In my role advising mid- and senior-level management of Fortune 100 companies, I found this book by Conger, Lawler and Finegold to be of immediate value.

"Corporate Boards: New Strategies for Adding Value at the Top" is positioned towards people who are perhaps on boards or who are executives dealing with boards. The authors are extremely credible, having dealt with and advised senior leadership from nearly every Fortune 100 company.

This book really brings together in one source all you need to know about building a more effective board - it is filled with real and practical guidelines and actionable how-tos. At the same time, it challenges the current governance approaches, arguing that despite all the "best practices" available, we still have a relatively simplistic understanding of how to build a great board. This book gives the reader more sophisticated insights into what it takes to have an effective board.

The authors also raise a number of issues that are critical given today's environment. For example, are boards solely responsible to shareholders or are there other, equally critical groups to which boards need to be accountable? Finally, the authors discuss the implications of the Internet for the boardroom.

In short, I strongly recommend this book, particularly for those who deal with senior leadership, corporate boards and governance issues.

Edward Marston is the pseudonym of Keith Miles, a fairly prolific and extremely good writer of mainly Elizabethan and medieval mysteries. He has also written mysteries under his own name with both sporting and golf backgrounds. However it is primarily the books that take place earlier in history that I am interested in. He read modern history at Oxford and has had many jobs, including university lecturer, but fortunately for all his readers, he turned to the writing profession.

Nicholas Bracewell, the stage manager for the troupe of actors known as Westfield's Men has yet more problems to overcome. The group's talented playwright Edmund Hoode, has been taken ill and is unable to complete his latest offering. The problem is, is the illness a natural one or are there more sinister things afoot. Plus a gambler has moved into the inn the troupe calls home and is proceeding to relieve some of the actors of their hard earned money. Then, as if these problems are not enough the troupe's theatre costumes go missing from a locked cabinet. Nicholas could well do without all these distractions but of course, as usual, the show must go on.

The author's love for the Elizabethan theatre comes shining through this series of books. Plus his knowledge of the period fills the pages with authenticity and the sights and sounds of the streets and inns of Elizabethan London.

This was an enjoyable read, but wasn't my favorite in the series. It still features the same wonderful characters, but the dialogue between them seemed forced and formulaic -- a little tired. The plot has an interesting twist involving playwright Hoode, but the other story line was pretty lame. Part of a great series, this book had all the basic elements of the earlier stories, but the telling seemed a bit dispassionate -- like an actor who has played the same role one too many times.

I'm a latecomer to the series and after reading "The Counterfeit Crank," I will definitely order more of Edward Marston's books. The characters are wonderfully drawn, and the details are excellent. The mystery may not present much of a challenge to the experienced fan, but I think it's more than worthwhile.

We were snowed in over Christmas, and I read this book at the same time as I read Stephen Greenblatt's biography of Shakespeare, "Will in the World." Mr. Marston's portrayal of his theatrical company is exactly the way it was when Shakespeare was an actor and budding playwright. I highly recommend both books!

In Elizabethan England the acting troupe of Westfield's Men is having their share of woes. Playwright Edmund Hoode has taken ill and it is up to his protégée Michael Grammaticus to finish the new play the actors are to perform. Michael is so grateful to his mentor for his support that he pays for the doctor and the special food he prescribes. A card player Alexander Marwood entices some of Westfield's Men into a game of cards with him. More times than not he is the winner, but there is no evidence that he is cheating but bookholder Nicholas Bracewell has his suspicions.

Someone steal the take for a play and their best costumes; nobody has a clue who is behind the thefts. Two young beggars who Nicholas befriended end up at Bridewell's workhouse where Dorothea is raped before she is released and her best friend Hywell is killed for his righteous attempt to hunt down the people who run the workhouse. Nicholas is determined to bring those responsible for the boy's death to justice as well as a couple of thieves who thought Westfield's Men were easy pickings.

Readers get a taste what it was like for actors who have the backing of a lord in Elizabethan England. Nicholas Bracewell is more heroic than usual as he tries to right many wrongs by bringing thieves and killers to justice. THE COUNTERFEIT CRANK is an exciting historical mystery and readers will be delighted to become reacquainted with characters they have come to regard as friends as it is always a treat to read about the endearing Westfield's Men.

Harriet Klausner

Without doubt the most important book on directing since Harold Clurman's seminal On Directing, I found Marshall Mason's Creating Life on Stage both moving and inspiring. When this book was released earlier this year, I was preparing to direct a production of Wilder's "The Matchmaker". I found Mason's insights into the most critical aspect of directing: how to coax the most inspired performance out of an actor truly illuminating.

How do we create the most fertile ground for truthful living on stage? In an almost simplistic, highly organized methodology, Marshall Mason lays out a set of tools for us to use. Mason manages to present this material so simply and lucidly, that almost anyone who picks up this book, interested amateur or Broadway veteran will profit from its contents. This is very difficult material to articulate, but he manages to relate concepts of character, behavior, even consciousness and spirituality in a way that is practical and executable on stage.

Highly useful for both actors and directors of all levels, it truly is "...utterly invaluable".

One might think that directing plays was an arcane art for certain geniuses, but as the great Alvina Krause would agree, directing plays is about LIFE and it IS life and therefore this advice about organizing work, interacting with others, managing one's own drive is good advice for anyone. I would particularly recommend it for writers. And especially people who write about the theatre. This is a clear book, not as simple as might seem on first reading, and a joy to read.

Mary Scriver

This book provides complete instructions on how to be an excellent director, from choosing the project to opening night and beyond. Theatergoers with an interest in how a play gets from a script to the performance they see should find the book fascinating. Mr. Mason writes in a gentle, intensely serious, sometimes wry style that is a pleasure to read. Young directors would surely benefit from Mr. Mason's 40-some years of experience in the theater. Actors should find it very interesting to know what a director does before first rehearsal (and it is a lot), and to read in print a description of the sort of direction they know in their hearts they deserve. Mr. Mason touches frequently and perceptively on Stanislavski and has an appendix on Sandy Meisner's teachings (and other illuminating appendices). If you know a young person considering a theater career, this book would be a very useful and supportive gift.

There is no doubt that Marshall Mason is one of the great directors of the past half century. With his new book Creating Life On Stage, he has shown himself to be one of the great teachers of directing as well.

Not all great directors make great teachers. And not all great teachers make great directors. I'm too young to have seen Harold Clurman's work, but there seems to be a consensus that his productions did not always meet the standards of his wonderful, seminal book On Directing.

Mason's book, written in a clear, often chatty voice, undertakes to describe a system for directors--akin to Stanislavski's for actors--that can reliably clear the way for inspiration and creativity. Mason draws on both his own vast experience and the groundwork set down by other major figures, ranging from Elia Kazan and Sanford Meisner to Anne Bogart.

The result is a rich blend of the traditional and the adventurous, drawing on the best of each. He describes how to make effective use of improvisation to stimulate the depths of actors' creativity (explore the history of the play, but don't demand a predetermined conclusion...); as well as innovative techniques such as the baby exercise for lovers (check it out--you'll love it).

Nor does he neglect the basics, and even they can have a fresh feel to them. Look for advice on how breaking down a script and constructing a rehearsal schedule can be conduits for inspiration. Even volume notes and tech can make a good story. After shouting several times from the back of the theater "I can't hear you!" during a dress rehearsal an actor shouted back in frustration "F*** you!" To which Mason immediately replied, "THAT I heard!"

Most of the book, however, is devoted to creating a rehearsal dynamic that invites the maximum creativity and enthusiasm from designers and actors alike. "We'll try to be something of a family here," he tells his cast, "but our family will be based on mutual respect." He goes on to add, "if we, the artists cannot communicate with each other, how can we hope to communicate with an audience?"

Creating Life On Stage is an important and welcome book to any director's library. None that I have seen offers the kind of advice for talking to designers that Mason gives, both practical and rich. It is telling that he calls this section not "working with designers" or "dealing with designers" but rather "stimulating designers." The same holds true for working with playwrights--and if there's one thing Marshall Mason knows, it's how to sustain a successful relationship with a playwright. His fifty-year collaboration with Lanford Wilson is proof enough of that.

There are a few times where he seems a bit caught up in the virtues of his approach--telling us in one instance that he thought his production of Private Lives was "much funnier (and more honest) than the acclaimed Broadway production the same year." But this is hardly a flaw--his goal is to help directors create work they can be justifiably proud of.

The approach to directing he describes, from choosing a play to "Enduring Opening Night" may just be one man's opinion. But any director would do well to consider his techniques. Perhaps the highest compliment I can pay it is this: I'll be using it.

The real power of Director is in Lingo, Director's programming language. I have more than 10 books covering Macromedia Director; most are designed for the beginner and intermediate level user. Warren's book is by far the best introduction to programming in Director.

I am an instructor at a small college in Colorado and find Mr. Ockrassa's text a pleasant resource for my students and myself. I have been working with Director for 5 years and have learned a great deal from his book. He has great examples of how to write effective and efficient code. This is the best example of a technical text I have ever worked with. We can only hope that he writes an intermediate and advanced text as well.

I am an instructor at a small college in Colorado and find Mr. Ockrassa's text a pleasant resource for my students and myself. I have been working with Director for 5 years and have learned a great deal from this book. This is the only text I have come across as a student or as an instructor that really teaches the fundamentals of programming in a way that can be easily followed and understood. Mr. Ockrassa did an excellent job with his examples and his explanations. I recommend this book to anybody that is new to Director and anybody who has been at it for a while. We can only hope he does an intermediate and advanced text as well.

I'm just getting into the world of Director, and this book has been my guide. It is written in an entertaining manner, (thankfully not overly cute,) and is making my learning experience an enjoyable one so far. Each lesson is laid out in an easy to read manner and features quick quizzes through out the text, designed to make sure that the important concepts are driven home. I recommend it for other readers looking to begin their Director education!

Another great book from Alton Gansky, read the first two in this series, Director's Cut is the third book. HOPE he writes another. This book will keep you guessing who done it to the end. This is a Christian mystery but not preachy, none of his books are, but you do know the characters and where they stand on God. I love the fact I can read a great mystery thats clean of bad words.

I loved this book, as I loved the entire Madison Glenn series. The ending was a slight bit corny, though, and I did guess what was going to happen before the end. All in all, still a great book and a very easy read. The book was well-balanced between suspense and spirituality so it all flowed well together. I recommend this series.

I loved this book! It was about God but not pressing! I`m a Chirstian and I loved it! But, everybody would love it if ya like a good mystery! I waiting to read his other books!

Madison Glenn's beautiful cousin, Catherine Anderson, is in Santa Rita to star in a dinner theater production. Yet, when Catherine's chauffeur is found dead in her swimming pool, the curtain almost comes down on the performance. It seems that someone has written a few changes into the script that makes real life more lethal.

Alton Gansky knows how to tell a great story and this book is no exception. The main characters, Maddy and Catherine, move the action along with a purpose and power. Maddy is an extraordinary woman, filled with intelligence, wisdom, and Christian compassion. Although she has her eye on a congressional seat, she puts her own career in jeopardy as she literally plunges into the murder investigation. Catherine is also a strong character, gifted with beauty and a stage presence that satisfies her fans.

The author leads readers behind the curtains to catch a glimpse of the production at the theater. The tediousness of rehearsal contrasts sharply with the tension aroused after the murder. The subtle blending of acting with the actual story line gives these pages an unusual twist. As the plot dives deeper into the mystery, the lines blur between the script of the play and the real world. A chilling sense of foreboding creeps in, which won't be fully eased until the final pages.

Every character has a role to play and the spotlight of suspicion swings wildly at moments. Yet, when it all fades to black, readers will sigh with relief and contentment. There's no need to fear the ending of this book--Alton Gansky is a master storyteller. -- Joyce Handzo, Christian Book Previews.com