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with the haute-Bohemian modernist lesbian set in London and Paris. Contextualized as one of the foremost 'sister acts' of the interwar period, Farrar and Blaney, both classically trained musicians, worked across intimate review and variety. They were best known for their work under producer Charlot, along with Beatrice Lillie and Noel Coward, and developed what became a hugely popular singing duo act in the 1920s, with Blaney at the piano and Farrar playing cello. Child emphasizes the duo's work as much as their interpersonal relationship: while it is in part a celebration of a 'hidden' lesbian modernist couple, this is primarily a meticulous documentation and re-evaluation of Farrar and Blaney's professional lives. It is also full of never-before-seen sketches by and photos of the pair. As such, Tell Me I'm Forgiven is a welcome intervention into the queer histories of London and the new histories of London performance cultures between the wars. Both women were ambitiously driven, and began their careers in music hall and, working under Lena Ashwell, touring with her concert parties during the First World War. Whilst Farrar's career somewhat faltered in the latter end of the 1930s after they finally stopped working together, Blaney re-found a place in the industry later in life: recording, undertaking a season in the 1960s at the RSC, and working in television with roles in popular series such as Within These Walls. Child brings together extant diaries and contemporary periodical evidence, along with materials from a series of interviews with Blaney collected by actor Derek Hunt in the 1970s. In this way, she creates a very productive and enjoyable journey, using evidence from both research and reminiscence. Whilst it does not focus on contextualizing the theatre history of the era, and rather neglects to engage with the conflicting politics of the period beyond its focus on 'queer' modernist London, this is a really great book which makes a genuine and tremendously useful contribution to the study of women, gender, and both popular and bohemian performance cultures of mid-twentieth-century London. maggie b. gale

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