Operation Mincemeat is the most fun I’ve had at a musical since Hamilton.
There are plenty of ways to tell a story about the Second World War, but turning one of its strangest secret missions into a musical comedy might not be the first that comes to mind.
That’s exactly what makes Operation Mincemeat: A New Musical such a wildly entertaining and irreverent theatrical experience.
Playing at the Royal Alexandra Theatre, the production takes an almost unbelievable true story and turns it into a fast-moving, zany adventure filled with sharp humour, clever staging, energetic choreography and some terrific performances.
If Hamilton showed audiences that history could be reinvented through contemporary musical theatre, Operation Mincemeat takes a similarly unconventional approach. But where Hamilton has its iconic songs and larger-than-life characters, this production wins you over through its humour, theatrical inventiveness and sheer cast energy.
The show takes some time to find its rhythm. The first act introduces a complicated story, a collection of characters and the elaborate mechanics of the wartime deception. There’s plenty to enjoy, but the pacing isn’t always there. The second act, however, is where things really take off. The antics become increasingly outrageous, the comedy lands more consistently and the pacing picks up considerably. By this point, the production has hit its stride, and the audience gets a much better sense of just how much fun this show can be.
The story takes place in 1943, when the Allies are preparing to invade Sicily and need to convince the Nazis that their target is elsewhere. The solution? A secret intelligence operation involving a stolen corpse, forged military documents and an elaborate fictional identity designed to fool German intelligence.
The body is dressed as a British military officer named Major William Martin, complete with personal belongings, correspondence and even a supposed fiancée. The plan is to have the body wash ashore in enemy territory, where the documents will be discovered and believed to be genuine.
It’s a wild plan, and the fact that it happened makes the whole thing even more remarkable.
But the real attraction here is the cast. Five performers take on an astonishing number of roles, shifting between characters, costumes, accents and personalities with remarkable speed.
Mariah Copeland plays Johnny Bevan and others, Katie Kleiger takes on Ewen Montagu and others, Luke Antony Neville plays Hester Leggatt and others, Erin Ramirez portrays Jean Leslie and others, and Jake Bentley Young plays Charles Cholmondeley and others. All five are stellar, demonstrating an impressive combination of acting, singing, dancing and comic timing.
The production depends on precision. Quick changes, overlapping characters, tightly choreographed sequences and rapid-fire dialogue leave very little room for error. Yet the performers make it look remarkably easy. One moment they’re playing senior intelligence officers in a wartime office; the next, they’re entirely different characters, often with just a small costume adjustment or change in posture. It’s an impressive theatrical balancing act, and the company shines throughout.
There are, however, some standout moments that really capture just how off-the-wall and unexpectedly moving this production can be. The first song of the second act, for instance, launches into a full-blown German techno anthem, complete with dancing Nazis. It’s gloriously absurd, completely unexpected and a perfect example of the show’s willingness to take historical material and run with it in the most outrageous direction possible.
Then there’s “Dear Bill,” a beautifully touching song that shifts the mood entirely. Written as a sort of universal love letter to soldiers, it brings a surprising tenderness to the story, reminding us of the human lives and relationships behind the wartime operation. It’s a lovely emotional counterpoint to all the comedy and one of the production’s most memorable moments.
Musically, the show moves between traditional musical theatre, pop, cabaret and unexpected contemporary influences. There may not be a knockout number that has you humming all the way home, but that’s fine. The songs serve the story, the ensemble harmonies are beyond excellent and the musical variety helps keep the production moving. It’s the overall theatrical experience, rather than any one show-stopping tune, that makes the music work.
At two hours and 35 minutes, including intermission.
Operation Mincemeat will leave you impressed by the extraordinary versatility of its five performers and the sheer ingenuity of the production. It’s funny, inventive, occasionally ridiculous and surprisingly touching. Most importantly, it’s a genuinely enjoyable night at the theatre.