Title

ALSO BY MARILYN CLAY

FICTION

The Juliette Abbott Regency Mystery Series . . .

Murder At Montford Hall

Murder In Maidstone

Murder In Middlewych

Murder At Medley Park

Murder In Margate

Murder In Mayfair

Murder At Morland Manor

Historical Suspense Novels . . .

Betsy Ross: Accidental Spy

Deceptions – (First printing in hardcover; Reprinted in

paperback and ebook as Dangerous Deceptions and The Letter)

Secrets And Lies – (First printing in hardcover;

Reprinted in paperback and ebook as Dangerous Secrets and

A Petticoat And Lambskin Gloves)

Regency Romance Novels . . .

Bewitching Lord Winterton

Brighton Beauty (reprinted as A Pretty Puzzle)

Miss Eliza’s Gentleman Caller

Felicity’s Folly

Miss Darby’s Debut (reprinted as The Uppity Earl)

The Unsuitable Suitor

The Wrong Miss Fairfax

Contemporary Mystery . . .

Stalking A Killer: An Amanda Mason Mystery

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NON-FICTION

18^th & 19^th Century English Women At Sea

History of The Water Closet

Regency Period Furniture, Vol. 1

Regency Period Furniture, Vol. 2 – Baubles & Necessities

Regency Period Furniture, Vol. 3 – Gentlemanly Concerns

You Are Never Alone: Gentle Reminders To Help Us Remember Who We Are

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HUMOROUS CAT STORIES

(Fictional although based on truth)

Sailor’s New Bed

Daisy Grows Up: A Kitten Baby Book

MURDER AT MONTFORD HALL

Book Seven of the Juliette Abbott Regency Mystery Series

A Regency Plume Press Publication

This book is protected by the copyright laws of the United States of America and other countries. No portion of this book may be reproduced, digitized, taped, recorded, scanned, or reprinted in whole or in part by either photocopying, printing, faxing, E-mailing, or copying electronically for the purpose of distributing on the web, or electronically transmitting to be given away; nor can it be stored in any sort of online retrieval system

in use today or by methods yet to be invented,

without written permission from the author, Marilyn Jean Clay.

MURDER AT MONTFORD HALL, Book Seven of the Juliette Abbott Regency Mystery Series is a work of fiction. The story is based solely upon the author’s imagination. Any true-to-life actor’s names, or names of London theatres from the 18^th and

19^th centuries in England are used fictitiously.

Dear Readers: Please do not contribute to the online piracy of copyrighted material. To do so is stealing and is a crime punishable by laws designed to protect an author’s hard work.

This author, and other authors, appreciate and thank you for your honesty and cooperation.

Printed and published in the United States of America

ISBN-13: 978-1653776733

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The Palace Theatre, London, circa early 1800s

Facts About London Theatres During The Regency Period . . .

I HAVE CHOSEN TO PLACE my Historical Notes at the beginning of this book rather than the end in an effort to help readers fully understand some of the remarks and references made by the fictional characters who appear in my story.

The following is a short glossary of Regency-period theatre terms.

PATENT THEATRES were playhouses approved by the king, meaning they could thereafter be designated as a Theatre Royal. Playhouses without a patent were prevented from producing serious drama. To comply and also to avoid fines, closure, or prosecution, non-patent theatres included songs and dances in their dramatic productions, including Shakespearian plays!

In 1803, the patent theatre COVENT GARDENS was the theatrical home of the famed actor John Philip Kemble and his sister, the famous actress, Sarah Siddons. The well-known clown Joseph Grimaldi also performed at Covent Gardens. In 1806, Grimaldi created a sensation when he appeared in the popular pantomime Mother Goose.

The London patent theatre HAYMARKET was mainly a summer playhouse open from May to early autumn. Another London patent theatre, DRURY LANE, located between Bridges and Russell Streets, burned to the ground in February 1809; was rebuilt and reopened in October 1812. In 1814, Drury Lane was again remodeled with the popular poet Lord Byron on the management board. Drury Lane’s most famous manager was the playwright Richard Sheridan, and Dorothy Jordan its most sensational actress at the time.

Non-patent theaters of this period were the PANTHEON located in Oxford Street. Permanently closed in 1814, it reopened a decade later as a shopping bazaar. The REGENCY Theater, named in 1811 in honor of the Prince becoming Regent, was in Tottenham Street and was formerly a riding academy. In 1816, the ROYALTY was renamed the East London Theatre.

TOKENS – were used in place of tickets, which at the time did not exist. Theatre-goers purchased special round or oval-shaped tokens made from bone, ivory or even silver. Tokens were purchased for the duration of one or two seasons. Since theatre seats were not yet numbered, a patron’s name and the number of his personal theatre box might also be engraved upon his token.

THEATRE LIGHTS – consisted of lit candles placed in hanging chandeliers that were suspended over the heads of the audience. Because the candles could not be dimmed during a performance, it was not uncommon for a dribble of hot wax to drop down upon a theater goer’s head or arms causing the patron to cry out, or shriek in pain. The stage was lit by oil lamps hanging in the wings with smaller lamps placed along the outer rim of the stage. Since the auditorium was constantly lit, patrons could easily observe one another as well as the performers. Patrons often talked back, or called out, to performers on stage, or to patrons seated in the pit on backless, unpadded benches.

SECOND SEATING – A stream of patrons were let into the theatre often upon the conclusion of the first act, which is when the price of admission was reduced. To avoid paying full price, many less affluent patrons waited outdoors until the price of admission dropped, often by half.

THE HEAVENS – that area of the theatre also known as the Gallery. Located high above the boxes, the auditorium, and the pit (ground level), the gallery is where the lower orders, the common folk, or servants of the rich sat.

ORANGE GIRLS – were young peasant girls who sold oranges to patrons. It was said that Nell Gywn, a famous actress who later became the mistress of King Charles II, began her career in the theatre as an orange girl.

PLAYBILLS – were posted in nearby inn and coffee house windows. Orange sellers might also sell them in place of a program before a play began.

COSTUMES – Despite a well-established theatre’s stock wardrobe, players were expected to provide their own costumes, although leading thespians were often given a special stipend to be used for that purpose.

AFTERPIECE – following a serious drama, or a double bill of plays, a light farce or pantomime called the ‘afterpiece’ was staged. A full ballet was generally performed following an opera. Given the length of plays and operas at the time, a night at the theatre truly meant a full night spent at the theatre!

Primary Players appearing in MURDER AT MONTFORD HALL:

Juliette Abbott – A nine and ten-year-old young lady invited to a house party at Montford Hall hosted by a theatre friend of her late mother Minette Dubois (dec).

Lord and Lady Montford – Benefactors of patent London Theatres who have more than once hosted house parties at their country estate for former thespians, although their reasons for doing so remain unknown . . . until now.

Ardeth Myers, Lady Westcott – Once a great beauty of the stage who captured the heart of the wealthy Earl of Westcott (dec). The marriage allowed her to escape the plight that befalls many a lovely young actress whose looks take flight.

Carlotta Marydale & Emma Stevens – Also once popular actresses who graced the boards of London and Paris theatres. Each now struggles to survive in a harsh world where one needs wealth, looks, or a husband, to properly get on.

Miles Lyttleton, Anthony Torbitt, Robert Nordstrom – Former beloved stage actors; neither one particularly trustworthy, at least when it comes to the ladies. Each man carries secrets that may or may not come to light. Hmmm.

Henry Egerton – A well-known London playwright who relishes hearing of scandalous secrets about theatre folk, which he then puts to good use as plot devices in the plays he pens. A handsome man with snow-white hair.

Helen Proctor – A house party guest. Helen’s late mother was also an actress.

Tilda – The six-and-ten year old girl who serves as Miss Abbott’s lady’s maid. Tilda has ambivalent feelings towards the theatre and actors in general. Her fervent desire at present is simply to escape Montford Hall alive! Oh, my.