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The Fill in the Gaps: 100 project, September 2010

Set near London around the mid-1800’s, an artist is traveling to his latest work assignment. On his way he sees a disturbing woman in white on the highway. He attempts to help her but is mystified when she disappears. Her connection with his life becomes apparent over time after he arrives at his destination. There he falls in love with one of the nieces of the household owner. She however is to be married shortly to a man who appears less than genial, creating conflict and angst. Things become convoluted as the plot is conveyed by different individuals that are involved in the happenings in this tale of deceit, murder, and apparent madness...The narration was excellent—done by various speakers that had the gender, age, and class accents appropriate to the teller of each section; and they were of course done with wonderful English accents...and I did not guess what was going to happen next which is always a good sign. I also did not feel that the book was edited.

Katherine A. Powers
The Washington Post, April 2009

“The Woman in White,” Wilkie Collins’s best-selling novel, a white-knuckler and a melodrama, has continued to transfix readers for almost 150 years. Naxos brings six accomplished actors to this story of subjugation, treachery and sleuthing. This is not a dramatized production but, rather, one made up of accounts related in sequence by the book’s characters, who are given voice by different actors. Glen McCready takes on Walter Hartright’s narrative, and his troubled, slightly vulnerable-sounding tone underscores that this particular drawing master may not be quite man enough to tackle the devious Count Fosco. For that, the story calls on Marian Halcombe, companion to Laura Fairlie—the intended victim of Fosco’s ally, the odious Sir Percival Glyde. As Halcombe, Rachel Bavidge makes her native Tyneside accent a token of that admirable woman’s clear-eyed shrewdness and strength. Hugh Dickson reads the solicitor’s account and also that of the self-centered, hypochondriacal Frederic Fairlie, upon whose voice he confers a most glorious querulousness. Other parts are beautifully narrated by Marie Collett and Teresa Gallagher. And finally, Allan Corduner is the definitive Fosco, his voice resounding with the timbre of vainglory and projecting all the menace that is so terrifyingly incarnate in the Count’s vast frame.

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