A Book A Week

When Morgan Richter’s publisher first offered me a copy of her latest thriller set in the world of classical opera, I’ll admit I had a hard time picturing how that setting could fuel suspense. When most people think of opera, they imagine a stuffy concert hall, audiences in black tie, long arias in foreign languages, and an orchestra tucked beneath the stage. Or maybe they picture Bugs Bunny. What they probably don’t imagine is the high-stakes competitiveness simmering behind the curtain. Having worked in the classical music world, I can attest that the passion to create something unforgettable and to leave your mark is undeniable. Sometimes that passion blossoms into rivalry. And on rare occasions, it hardens into obsession. It’s from this very real world that Richter draws inspiration for her new thriller, The Understudy. 

Kit has spent years honing her craft as an opera singer, pouring countless hours into perfecting her voice. But the breakout role she’s dreamed of has never materialized. Instead, she’s toiled away in ensemble parts across New York City, where it’s notoriously difficult to stand out. Opera companies are spoiled for choice, with centuries-old works demanding the best of the best. And with audiences dwindling and finances shrinking, directors are rarely willing to gamble on a newcomer when seasoned performers are waiting in the wings.

That’s why Kit is thrilled when she’s finally cast in a brand-new opera based on the 1960s cult film Barbarella. It’s not the role she imagined for herself—she’s never been known for her sex appeal—but originating a lead part in a new work could catapult her career. There’s just one problem. Well, two. First, despite Kit’s flawless technique, the director seems unconvinced she’s right for the role. And second, there’s her understudy, Yolanda. Beautiful, bold, and brimming with confidence, Yolanda embodies everything Barbarella is supposed to be, even if her singing is far less polished. At first, Kit tries to outwork her rival, but when Yolanda makes it clear she plans to steal the spotlight, Kit realizes she’s facing more than artistic competition. As rehearsals intensify, it becomes clear that Yolanda will stop at nothing to claim center stage.

In The Understudy, Morgan Richter pulls readers behind the curtain of an opera production, revealing the tense, high-stakes drama simmering in this world. The reality for many in classical music is sobering. Audiences are shrinking, funding is dwindling, and the art form itself feels increasingly on the verge of obsolescence. Richter seizes on this truth, weaving it into the inner struggles of her characters, who push themselves to excel in a space that seems to be slipping away. That backdrop of decline adds an extra layer of urgency and desperation to every moment.

As the story progresses, Richter gradually turns up the darkness. The lengths to which Yolanda is willing to go to secure the starring role seem boundless. Or are they simply projections of Kit’s spiraling paranoia? The line between reality and obsession blurs, pulling the reader deeper into Kit’s unraveling perspective. The result feels like a classical-opera take on Black Swan, but with Richter’s sharp character work giving even the supporting cast depth and dimension. It’s a gripping mix of psychological tension and character study that kept me riveted from the first rehearsal to the final curtain.

For more information, visit the author's website, Amazon, and Goodreads.

(2025, 72)