The True Prince

Publishers Weekly

Since he first began his apprenticeship to a theatre company, a boy has had a combative relationship with the best boy player in London, and things only get thornier from there. "The exuberant world of Elizabethan theatre takes center stage in Cheaney's latest tale of suspense," wrote PW. Ages 10-up. (Feb.) Copyright 2004 Reed Business Information.

KLIATT

To quote from the KLIATT review of the hardcover in November 2002: The flags are flying, the groundlings are streaming in, and the new play performed by Lord Hunsdon's Men is about to begin! In this work of historical fiction, we are given a backstage pass to Shakespeare's theatre of 1597 through Richard Malory, one of his young acting apprentices. With Richard, we rehearse for the "Juliet" parts, sharpen our swordplay, and track a mysterious bandit, "The New Robin Hood." In addition, we grow up with Richard as he comes to realize that not all people are what they seem to be on the surface and that being a true friend involves compassion. Cheaney's vivid imagery allows us to experience the everyday lives of some of the world's most famous thespians, set against the backdrop of 16th-century England. From daily rehearsals to company rivalries, backstage mayhem to back alley murder, we have the best seats in the house as we follow our talented narrator through his apprenticeship. For lovers of British history or Shakespeare, or for readers who are just being introduced to the plays that continue to form the foundation of Western theatre, The True Prince is sure to please. Includes historical notes by the author. KLIATT Codes: JS*—Exceptional book, recommended for junior and senior high school students. 2002, Random House, Dell Yearling, 340p., Ages 12 to 18.
—Michele Winship

School Library Journal

Gr 6-8-Returning to the milieu and characters of The Playmaker (Knopf, 2000), Cheaney offers another historical thriller set amid the smoky taverns, dim alleys, and bright theaters of London in the late-16th century. Richard Malory, now 15, has finished a year's apprenticeship with William Shakespeare's acting company, and his performing skills have made him a serious rival to Kit Glover, resident golden boy. But the troupe has troubles: they are threatened with losing their theater, a patron's bad fortune means they are no longer The Admiral's Men but the less prestigious Lord Hunsdon's Men, and odd happenings are plaguing them. Who has forced their performance of an execrable anonymous play? Why is Kit courting bad company? What is the true nature of a mysterious new apprentice called "the Welsh Boy?" And why does all this interest a sinister secret agent? Richard and his intrepid pal Starling Shaw investigate, and are drawn unwillingly into perilous intrigues surrounding the throne of aging Queen Elizabeth I. Turbulent action, engaging characters, vivid period details, and a gripping denouement make this a worthy successor to the first book and inspire hopes for more to come.-Starr E. Smith, Fairfax County Public Library, VA Copyright 2002 Cahners Business Information.

Kirkus Reviews

A new Robin Hood rides in London, robbing gentlemen, humiliating rivals in Elizabeth’s Court, and threatening the reputation of Shakespeare’s theater. When actors end up dead or missing, the theater company—already seen as unsavory by many—stands to be further shamed. It’s a thrilling story of cutpurses, highwaymen, murder, intrigue, and eventually the midnight dismantling of the Burbages’ Theater. In the middle of all of this is young Richard Malory, apprentice in The Lord Hunsdon’s Men. Kit Glover, his fellow apprentice, is suspected of being an accomplice to thieves, and Richard puts his life on the line to find the truth. In the meantime, the shows must go on and readers are treated to many details of Elizabethan theater: boys playing female characters, the staging of battle scenes, the midsummer plague season, Shakespeare’s rivals, and the behavior of theater audiences. At its heart, this is about how the theater thrives and "how a good play is like life," and fittingly, the language of the story sparkles. "Spoken words, things of shaped and polished air that flash but once, then flicker away" are the currency of Shakespeare’s plays and of Cheaney’s prose. This lively second novel in the author’s Shakespearean drama (The Playmaker, 2000) is a fine addition to the growing body of literature about Shakespeare’s world, including Susan Cooper’s King of Shadows and Gary L. Blackwood’s The Shakespeare Stealer. (map, cast of characters, historical note) (Fiction. 10+)