Ngaio Marsh. Final Curtain (1947) Waiting for Roderick to return, Troy is persuaded to paint the portrait of Sir Henry Ancred, Grand Old Man of the Theatre. He’s infatuated with a chorus girl, which the Family of course does not like at all. Troy enjoys painting the old man. But several practical jokes, ascribed to Panty, Sir Henry’s youngest grandchild and favourite person, roil the household, and eventually there’s murder.
Alleyn has just returned from duty in New Zealand, but he must investigate the crime. Troy being one of his witnesses, complicates their reunion. Marsh plays fair enough with the clues and rosy piscids, but the main interest is the Family. They’re a wonderfully awful collection of eccentrics, all but one carrying the theatrical genes that made Sir Henry an expert ham who could carry any role at whatever pitch of realism or fantasy the director wanted. Or so I infer. The solution involves distorted affection and money, as it often does in Marsh’s tales. Merely average for her, which means it’s very good. ***
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