2 September 2023 I 15:00 I Fortune Theatre, London
⭐⭐⭐
As it starts to get comfortable in the heart of the West End, Operation Mincemeat has perhaps been my most anticipated show of the summer. With constant sell outs and around sixty 5 star reviews, there is certainly a high level of expectation. The trailblazing new musical has gained a revolution of fans unlike I have ever seen. As a comedy, this version of the story diverts far from the seriousness that the 2021 film exudes, whereby the comical aspects do not entirely land for me in SpitLip's adaptation. It is impossible to deny the overall tone is often very light, and many jokes do make me chuckle, though not to the extent of belly laughs as the majority of the audience does.
A notable thing about Operation Mincemeat is how seamlessly scenes flow, utilising thoroughly thought out transitions. This is largely benefitted by Jenny Arnold's movement design, with a significantly enjoyable dance style that fits into the 1940's swagger. There is a lot of multi-rolling across the show, which is incredibly impressive in terms of the commitments to character. However, some are incredibly fast paced, and clearly visible onstage, sometimes by the wings. This holds potential to distract from the central action. I personally find a messiness by the sides, which develops into an exhaustive nature. This musical is naturally chaotic, which certainly has it's charms, however if you seek ultimate precision, it perhaps isn't the show for you. The music (SpitLip) has a very distinct sound through most of the show, and to contrast there are some features (particularly Das Übermensch) serving as playful interjections with a modernised sense, thus allowing the style to remain fresh and adaptable.
I really admire each of the 5 performers in this matinee's show, with their confidence on the stage proving tremendous. Natasha Hodgson is an exceptional actress, as her main role of Ewen Montagu is splendidly comedic. Putting on a gravely voice immediately emphasises the amusement of her lines. Hodgson delivers a uniquely deceptive charm where you can never place Montagu's morals, leaving me considerably invested in her character. David Cumming finds an awkward likability through Charles Cholmondeley, warming the heart with his bizarre personality. And his feminine representation in All The Ladies really showcases how stand-out of a performer he is in group scenes. I commend Jak Malone's juxtaposition between Hester and Spilsbury (among others), the investment to each character is wonderful. Dear Bill, is the most honest and refreshing moment of Operation Mincemeat, and alike Cumming's Dead In The Water, emotion-led renditions exploring the humanity behind war are the parts that captivate. Whereas some of the lengthier songs are extremely high intensity, meaning that crucial wording can be thrown away, leading to confusion with an already tricky plot.
Zoë Roberts is a shining display of comedy acting and professionalism, most enjoyable with her secret missions as Haselden, utilising a complicated prop sequence that explores a new area of physical comedy, opposed to repeating previous gags. And Claire-Marie Hall is simply an all round exemplary presentation of SpitLip's vision. She regularly delivers outstanding vocals, and her enthusiasm that she acts with onstage is exactly why we go to the theatre. Hall is clearly having fun, and it makes audiences equally gleeful.
Ben Stones can add yet another triumph with his striking set design, which melds divinely with Mark Henderson's lighting design for very distinctive settings, from harbours to nightclubs. The creative team really go all out during A Glitzy Finale, discovering many new and unused elements to the set. These are incredibly impressive, though I only wish that some of these new found features could be used more beside a whirlwind final song, whilst still maintaining the surprise. It is impressive, just that the majority of the space feels wasted until this finale. As I previously mentioned the successful flow of the plot, the ending moments add a glimpse of beauty and genuinity as the life of Glyndwr Michael is honoured. The whole operation essentially lies on this man's impact. In a biographical sense, we are invited away from the comedy, to highlight just how much he changed the course of the Second World War during the 1943 allied invasion of Sicily. I wouldn't have expected this level of sincerity, though it is wholly respectful and important to honour this history
I have been amazed by Operation Mincemeat's impact on the West End, and it truly makes me happy to see it's progress through it's stages of development. I didn't exactly find the hilarity in the writing, however I left the Fortune feeling happy and smiling nonetheless. I don't think that I would consider a return to the show, having not latched onto it's infectious hype, though I still encourage others to pay a visit to Operation Mincemeat, as judging by fellow audience members, it is undoubtably here to stay.
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