Detective Ransom follows a tortured path to unravel the internal relationships of the fledgling opera company to determine whether Nuevo was even the intended victim. Nuevo's colleagues' over-the-top off-stage "performances" make Ransom's job that much harder. The clunky prose, inundation of sight and sound details to the exclusion of all other senses, and lack of character identification sap the reader's enjoyment.
Successful series mysteries devote as much attention to the sleuth and his or her partner as to the murder plot itself. Who can recall a Sherlock Holmes plot without fondly bringing to mind his legendary banter with Dr. Watson? And yet, memorable character interaction seems curiously absent from Ransom at the Opera. Miss Emily appears in only three or four scenes, hardly enough for a reader unfamiliar with the series to become properly acquainted with her. And of Ransom's badgered partner, Detective Gerald White, only his copious note-taking made a lasting impression upon me. Even Ransom himself, who doesn't come upon the scene until halfway into the book, eludes reader identification.
"I was a fool," Ransom laments to Miss Emily at the end of the novel. He feels personally responsible for what happened in the aftermath of the denouement. The motive "was right in front of me." Yes, it was. And since Detective Ransom's performance scarcely brought the house down, I won't be sleuthing out any more of his adventures.
(Originally published in Crescent Blues. Reprinted with permission.)
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Scribble a note on the wall of the Maze so you can find your way out again... ;-)