Having enjoyed Ms Keasley’s recent historical romance titled The
King’s Messenger, I found a 2001 title at the Marion Library titled Season
of Storms. It is based on some cues from the life of the 19th-century poet,
Gabriel D’Annunzio, but is turned into a full-fledged gothic novel. The heroine is a young English actress named
Celia Sands and the London theatre background was what attracted me over the
other older titles available.
Celia has little confidence in herself or her talent, but is
young and ready to both make her professional mark and to find a relationship. The
kicker is she has the same name as an early 20th-century woman named Celia Sands
who vanished on the night of the premiere of a play written in her honor by her
lover, an Italian poet and nobleman named Galazzo D’Ascanio. The play that
night was never performed, and now, two generations later, the show is to be
done in an outdoor theatre on the grounds of the D’Ascanio estate. The modern Ms.
Sands has some trepidations, but finally accepts the lead role. Although there
is no particular reason to do it, the play’s company is required to travel to
the Italian estate to rehearse. This puts all the actors in the old manor house
on the grounds. It has a faded splendor along with lots of dark, twisting, and
creepy corridors.
Their host is Alessandro D’Ascanio, the original poet’s
grandson. He is young and mysterious. Even
though he has a love interest living in another building on the estate, Celia
finds herself attracted to him. Several other romantic entanglements in the
company plus a lot of rain, add to into the rocky rehearsal schedule.
To top it off, paranormal occurrences seem to be taking
place. Celia is the most affected since a friend back in London had already
given her a scary Tarot Card reading before she left for Italy. Now, she finds herself billeted in the bedroom
of the original Celia, whose portrait hangs ominously “with newly haunted
eyes,” right over her bed. Needless to say, she gets a lot of bad dreams. If
that is not enough, a decision is made to delve further into the psychological
background of the original situation by scheduling a séance to reach the soul
of the first Celia. That goes amuck, and ends with a not-so “Blithe Spirit”
claiming that Celia did not vanish just before the opening night of her play,
but was murdered.
Having directed over 100 plays in my life, I must admit that
this is a new research tool for theatre companies. Kearsley’s lush descriptive
style matches well with the gothic ambiance she is trying to create and true
love is ultimately found. Unfortunately, the girdle of coincidence was stretched
far beyond its snapping point and believability in the theatrical details as
well as the general plot just plain disappeared.
I give it a 2.5 out
of 5.