Horn Book

In this entirely satisfying sequel to The Shakespeare Stealer, loyalty, trust, and respect once again play a significant role as orphan Widge, now an actor, finds himself torn between his newfound family--the Lord Chamberlain's Men--and a man claiming to be his father. The engaging novel contains an informative author's note that carefully separates fact from fiction.

Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)

Widge, the orphan who infiltrated the Lord Chamberlain's Men acting troupe in <EMPHASIS TYPE=""ITALIC"">The Shakespeare Stealer, returns. Now a bona fide member of the troupe, he acts as amanuensis to the Bard (who has broken his arm) in the writing of <EMPHASIS TYPE=""ITALIC"">All's Well That Ends Well.Ages 10-14. <EMPHASIS TYPE=""ITALIC"">(Feb.)

ALA Booklist

In this sequel to The Shakespeare Stealer (1998), apprentices Widge and Sander arrive at the door of the Globe Theatre and discover a notice announcing the banning of public performances. With the plague on the rise in London, the Lord Chamberlain's Men take their company on the road to look for towns where they can perform. On the way, the troupe finds uses for Widge's skills in medicine and writing, along with the acting and physical labor required for the theater. Finding a man he presumes to be his father, Widge struggles with questions of identity, slowly discovering who he is and who has become his family. As in The Shakespeare Stealer , Blackwood sweeps readers along in a fast-paced tale convincingly set in Elizabethan England. Rich language and descriptions of places, along with many details of actions contribute to a setting that goes deeper than costumes and props to genuinely reach back into the reality of another place, another time. Narrator Widge and many of the other characters emerge as memorable, complex individuals that children will want to meet again

Kirkus Reviews

<p>Every bit as brawling and vigorous as its prequel, The Shakespeare Stealer (1998), this takes young Widge, apprentice actor, on tour with Shakespeare's own Chamberlain's Men, to meet challenges to life and livelihood while unearthing clues to his hidden past. After the threat of plague closes London's theaters, the company sets off to play smaller towns, leaving Widge's friend Sander behind but hiring malicious, talented Salathiel Pavy away from another troupe to help portray the women and children. One by one, Sal begins taking over roles that once were Widge's: welcome relief, at first, as Widge has plenty of other duties, including taking dictation for Will, who has broken an arm in the midst of composing a play tentatively titled Love's Labours Won, to present to the Queen. Soon, however, an unfriendly rivalry develops between the two apprentices. Then, Widge gets a double shock: revisiting the orphanage where he spent his first few years, he learns his mother's name, and ex-soldier Jamie Redshaw steps forward, claiming to be his father. Mixing swordplay and wordplay measure for measurea"" 'He may vote as he will . . . for the will of the company outweighs the will of Will, will he or nil he . . . And the weal of the company . . . outweighs the weal of Will as well.' " Blackwood creates a vivid picture of the times, as the company encounters brigands, widespread fear of the plague, and internal dissension. When Redshaw is revealed as the Elizabethan equivalent of a con-man, Widge is forced to make some agonizing choices; he returns to London alone, just in time to see Sander die of plague. Then, screwing his courage to the sticking place, he challenges Sal to an actors' duel, to see who would make the better Helena in the new play, now dubbed All's Well That Ends Well. A first-rate tale, with a strong cast and plenty of insight into stagecraft and the art of acting. (Fiction. 11-13)</p>

School Library Journal Starred Review

Gr 5-8-In this sequel to The Shakespeare Stealer (Dutton, 1998), Widge has become a "prentice" to the Lord Chamberlain's Men, Will Shakespeare's acting troupe. Besides acting many of the female roles, the youngster uses his skills in "swift writing" to decipher Shakespeare's scribbles and provide individual scripts for each actor. When the plague closes the theatres in London, the players take to the road, but uncooperative company members, brigands, fire, and hostile officials make traveling a challenge. In addition, Widge loses some key roles to an uppity new prentice and wrestles with his emotions as he meets a man who claims to be his father. Through it all, he learns to recognize his own worth and the importance of true friends, and this, of course, is the crux of the story. As with his earlier title, Blackwood has created a vivid portrait of Elizabethan England via wonderful period details, along with plenty of references to the plays and life "upon the wicked stage." The story is extremely well structured, with several interesting subplots; the chapters end at just the right moment, leaving readers eager to plunge ahead. The characters are well developed, with Widge being particularly memorable. The dialogue is realistic, and the humorous plays on words add another level of interest. An exciting, well-written tale that is sure to leave young thespians clamoring for more.-Nancy Menaldi-Scanlan, LaSalle Academy, Providence, RI Copyright 2000 Cahners Business Information.