Review: Operation Mincemeat, Lyceum Theatre, Sheffield

Operation Mincemeat is touring the UK and bringing this hit show to a whole new audience. It has been playing in London to rave reviews, boasting it is the best reviewed show in West End history. So, is it a deserved accolade? Oh, absolutely; without any doubt. This is one of the easiest five stars I’ve awarded.

This production is impeccable. The five actors Christian Andrews, Charlotte Hanna-Williams, Seán Carey, Jamie-Rose Monk and Holly Sumpton play multiple roles brilliantly. Displaying split-second timing, they rapidly switch between characters with confidence and swagger. Their acting and singing are astonishing. They set props and furniture with no break in the action in a fast-paced production. And that action is full-on, with dozens of sublime comedy moments that depend on perfect ensemble timing. Every one lands. Robert Hastie‘s direction is a triumph of genius and wit. It is hugely impressive.

The show is based on a true story. Set in World War 2, MI5 need a scheme to divert German forces from Sicily, which the Allied forces plan to invade. With approval by Churchill, they plant falsified documents on a dead body indicating that Sardinia is the target, in the hope that Germany will be fooled. 

In the course of the action, men play women and women play men. There is genius comic business which is slick, clever and must have taken hours of rehearsal. One hilarious scene ensnares four actors up in telephone lines and misplaced hats while they deliver quick-fire dialogue before magically untangling. Every movement is perfectly choreographed. Another delicious moment has Monk leaving the stage as Ian Fleming and immediately re-entering as MI5 head Bevan, declaring he doesn’t want any far-fetched ideas from the crackpot Ian Fleming.

There are stunningly good original songs in many varying styles. A standout is ‘Dear Bill’ performed beautifully by Andrews’ MI5 secretary, Hester Leggatt. She provides a love letter to plant on the corpse and in the course of the apparently simple song it is clear the words are personal to her. The lights dim on her colleagues, the piano accompaniment reduces and the auditorium is silent. It’s a surprisingly moving and poignant moment in an otherwise exuberant production. 

There are several occasions where the actors break the fourth wall and speak directly to the audience. These seem specifically devised to remind the audience it’s watching a show. The opening number of Act Two is ‘Das Übermensch’, the only time we see the German enemy. They perform loudly in full military uniform, and the stage is lit in stark red neon. At the end there is a sudden blackout and the lights return immediately to reveal Monk, magically back in her MI5 costume, sneering at the audience’s applause. ‘Really? Whose side are you on?’ 

As the show reaches its conclusion, Sumpton declares it needs a “glitzy finale” and exactly that is delivered with sparkly costumes, a flashing set, and the actors working harder than ever. Mel Brooks would have been proud of it. There really aren’t enough superlatives to do this show justice. I’ve been to many, many theatrical productions, and this one is a true highlight. Operation Mincemeat started life in 2019 as a fringe production performed by the writers to small audiences before it opened in London. In the programme the writers urge people to go and watch something small and weird in a little local venue so more original shows like this one can evolve. I totally endorse that message.

Book, Music & Lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
Directed by Robert Hastie
Choreographed by Jenny Arnold
Set & Costume Designed by Ben Stones
Lighting Designed by Mark Henderson
Sound Designed by Mike Walker
Orchestration & Vocal Arrangement by Steve Sidwell
Musical Supervision by Joe Bunker

Operation Mincemeat is touring the UK until Saturday 28 November.