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A gem of a show that is more than deserving of its place in the West End and its spot in the canon of great, original, British musicals. Summary
Rating
Unmissable!
I work in Hammersmith, so last summer I regularly walked past the Operation Mincemeat posters on the windows of Riverside Studios. Outstanding reviews soon started pouring in, from critics and the public alike. But I failed to see the show – time slipped by and I missed my chance. It was a real thrill, therefore, to get to see it make its West End debut at the Fortune Theatre, following a whirlwind journey since development runs at the New Diorama Theatre in 2019.
This relatively new musical is set in 1943 and is based on a true story, which it’s hard to believe really took place. It’s the tale of how Britain fooled Hitler with a corpse and some top-secret plans in a briefcase, filled with an entirely faked identity. This is a show that makes you want to pore over the history as soon as you leave the theatre – and whilst it’s a light-hearted musical, it gives a remarkable story the gravitas it deserves. One of the most poignant moments comes right at the end, when the characters pay a tribute to the “man who never was”.
Despite the poignancy and remarkable truth to the book, it’s a very funny production. The opening of the second act is a particular highlight, with a frankly ludicrous dance routine from the enemy, followed by rapturous applause and then stern words – “whose side are you on?”. The comedic timing is pure joy to watch, and humour ripples throughout the performance with ease.
The cast cannot be faulted in any way. David Cumming is deliciously awkward and heart-warming as Charles Cholmondeley, and it’s remarkable to see him adapt into other characters throughout the show. Zoë Roberts commands the stage as Johnny Bevan, the man in charge and Claire-Marie Hall captures all our hearts as Jean Leslie, the woman desperate to have a seat at the table, not just making the tea. They’re all slick and sharp, playing many other roles between them, but it’s easy to believe every single part they play.
Deserving of an extra applause is Natasha Hodgson, who dealt with a faulty microphone at the start of the second act with real professionalism. It was a shame, but she styled it out, projected, and didn’t let it phase her at all. It was Jak Malone who really stole the show though, earning the longest applause of the night after his performance of ‘Dear Bill’ as Hester Leggett. When a theatre is mostly filled with raucous laughter, it’s quite rare to match that with audible sobs, but this heart-breaking performance and beautiful composed song catch us off guard, leaving barely a dry eye in the house.
The staging is ingenious. It’s easy to imagine its humbler beginnings, yet the added pizzazz enhances the performance. Relatively modest throughout, with one main set and clever use of props, it takes us right to the heart of the war rooms, before the spectacular ending places this right back in the West End.
It can feel lazy to make comparisons when a new musical captures a crowd: they rap a bit so of course it’s Hamilton in 1940s war-ravaged Britain. Yet, it feels right that this show be placed in the canon of other great, original new musicals before it. It has tastes of Billy Elliot’s ‘The Stars Look Down’ in ‘Sail On, Boys’, morsels of Six in Jean’s songs, and of course there’s a hint of One Man Two Guvnors in the comedic misadventure and farce. This is one of those rare gems – a truly fantastic British musical that is sure to stand the test of time.
Book, music and lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
Directed by Robert Hastie
Choreography by Jenny Arnold
Opertaion Mincemeat is booking until 19 August 2023. Bookings can be made here.
