Death of a Pooh-Bah

Pomposity was but one of the unpleasant personality traits of Dr. E. Foster Ballard, who, appropriately, was cast in the role of Pooh-Bah, Lord High Everything Else, in the Northampton Repertory Company's production of The Mikado. That he should be murdered with his own authentic antique Japanese aikuchi knife following the opening night's performance may seem fitting, if unfortunate, to many. Everyone in the company, including Foster's ex-wife, is under suspicion. For Phoebe Mullins, choreographer for the play, finding Foster's body is ""easily the fourth worst moment of [her] adult life"" (quickly following the third: receiving a surprise letter from her only living blood relative, a thrice-married eccentric aunt, Portia Carpenter Singh, the theater company's benefactress, whom Phoebe now finds hovering over the deceased Foster). As a woman of a certain age who has devoted her life to supporting others' careers (first her pianist father's and then her conductor husband's), Portia's r sum is a bit spotty but she can boast that she has already solved one murder--and then another company member is killed. Amid the intrigue, Sturges (who began her Music Lover's Mystery series with Death of a Baritone) gives Phoebe time to explore the possibility of a new man in her life and dishes up an engaging story with broad appeal. Agent, Ruth Kagle. (Nov. 7)