A group of people who are super duper into Shakespeare is the focus of M. L. Rio's If We Were Villains, which mostly follows seven Shakespearean acting students in their senior year at an exclusive arts college. We know something big and bad happened, because the book opens with one of the seven (Oliver, our protagonist) being released from prison after a decade. He agrees to return to his alma mater and speak to the detective who put him behind bars to finally reveal the true story of what happened all those years ago.

Based on the length of sentence alone, it shouldn't be surprising that what happened was that someone died. The who and the how I'll leave for the reading of it, because the bigger issue is what happened after that person died. The way the remaining members of the group deal with the death, and how it changes their relationships with each other, both on and off the stage. They'd each developed a little niche over their years together (the king, the femme fatale, the good guy, the ingenue, the villain, etc), and the removal of one of the spokes of the wheel renders the structure unstable.

If you've read The Secret History, a lot of that will sound pretty familiar to you. Indeed, it's pretty obvious that Donna Tartt's debut novel was a significant source of inspiration for Rio for her own. And that's fine, Tartt doesn't own the concept of a tight-knit group of students studying an obscure subject at an exclusive private college dealing with the fallout from the death of one of their own. But here's the thing: if you're going to write a book with strong parallels to a novel that's been consistently popular since it was published 25 years ago, you have do it at least as well or better. And although I want to make it clear that I did enjoy reading If We Were Villains (I did love The Secret History, after all), Rio didn't quite hit that mark.

The characters fall a little too neatly into the roles they fill onstage: Richard, the king-type, really is a raging egomaniac; Meredith the femme fatale really is a sexpot; Wren the ingenue really is demure and sweet, etc etc. Where this fails most problematically is that the "background player" types are kind of underdeveloped, and that's Oliver and Filippa. Oliver, you'll remember, is the main character and while it's not unusual for a reader-insert-character protagonist to be kind of bland, Oliver never really captured or held interest for me. Filippa is the only other member of the group that doesn't come from privilege and the small peeks we get at who she is make her easily the most potentially interesting character, and it's frustrating that she's given the short shrift. The plot developments, too, weren't handled especially deftly. I'm generally not good at anticipating plot twists, but I called nearly all of the major ones easily. Rio's prose is solid, though, and I'd definitely be open to reading more from her in the future. I'd recommend this to people who loved The Secret History and want to read something similar, but if you haven't read that book yet, it's better than this one. ( )

“Actors are by nature volatile—alchemic creatures composed of incendiary elements, emotion and ego and envy. Heat them up, stir them together, and sometimes you get gold. Sometimes disaster” (53).

If We Were Villains is about seven players whose performance-art imitates life—all the ego and betrayal and secrets that lead to a tragedy of Shakespearean proportion. These fourth-year actors have come from various corners of the world, but despite their different backgrounds, they have a single commonality—an obsession with Shakespearean performances. At this elite arts college, their final year together as a troupe seeks to answer the question about what moves a mostly innocent community to a more nefarious cult. What causes their stage-lives to unravel into their off-stage lives? Who’s playing the actors—the archetypal personas they’ve been assigned and immersed in for three years or the damaged, foolish Shakespearean addicts they are. And, finally, who or what is at fault for such a tragic ending—the characters’ own folly, living the “cult of excess,” Shakespeare himself, the pressure and expectations of elitism, or—simply—predetermined fate? ( )

Fucking hell this will be on my mind for a while.
Oliver and James bro tho WTF
I CANT EVEN
I honestly don’t care that it’s taken me just less than a month to read bc I can say I was INVESTED

Oliver was in love with James so much he took the blame, hoping he’d be with him when he’s out of prison just to find out James killed himself FOUR YEARS EARLIER. ( )

what the hell ( )

Serious “The Secret History” by Tartt vibes going on here. Instead of so much booze and drugs, it’s too much Shakespeare. Seriously though, it really is too much Shakespeare. To the point that I just skipped through the endless dialogues that involved it. And who speaks amongst each other like that? No one, that’s who.
Now that I have gotten that out of the way, the book is pretty good. Story is about a group of theatre students (obsessed with Shakespeare, of course) that are good friends until they are not. One of them gets murdered, and it all unravels pretty quick. Lies, betrayal, jealousy, treachery… you name it.
Ending is fab, with a great twist that you kinda see it coming, and are pleased to confirm after the last page.
Definitely read it, and be patient with the endless Bard situation going on in there. ( )