Operation Mincemeat (Fortune Theatre, London, Personal)
🌟 Operation Mincemeat 🌟
02 September 2023 at 3:00pm at the Fortune Theatre, London
★★★
As it starts to get comfortable in the heart of the West End, Operation Mincemeat was perhaps my most anticipated show of the summer. With constant sell outs and around sixty 5* reviews, there was certainly a high level of expectations. 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 didn't entirely land for me in this musical adaptation by SpitLip. It is impossible to deny the overall tone is often very light, and many jokes did make me laugh or slightly chuckle, though not to the extent of laughing out loud as the majority of the audience does. It is important for me to mention that I enjoyed the show, and really admired it's consistency to it's quirky style, but unfortunately not falling head over heels for it.
One really notable thing about Operation Mincemeat is how seamlessly scenes flow, and transitions are thoroughly thought out. This is largely benefitted by Jenny Arnold's movement design, where there is a significantly enjoyable dance style that fits into the 1940's era swagger. There is a LOT of multi-rolling across the show, which is incredibly impressive in terms of the commitments to every character. However, some are incredibly sharp, and quick changes are clearly visible onstage, sometimes by the wings. This slightly distracted me at times, where this kind of costume change should ideally be deliberately centre stage, or offstage. For me, it creates a messiness by the sides, which occasionally diverted my attention from the main action. This musical is naturally chaotic, which 100% has it's charms, however if you seek ultimate precision, this 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 songs (particularly Das Übermensch), serving as playful interjections with a more modernised sense, which allowed the style to remain fresh in a concert-like performance.
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 was splendidly comedic. Putting on a more gravely voice immediately made her lines more amusing. Hodgson really delivers a uniquely deceptive charm where you can never place Montagu's morals, which left me considerably invested in her character. David Cumming finds an awkward likability through Charles Cholmondeley, who just warms 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 moments. I thoroughly enjoyed Jak Malone's juxtaposition between Hester and Spilsbury (among others), the investment to each character simply amazing. Dear Bill, for me, was the most honest and refreshing moment of the musical for me, and alike Cumming's Dead In The Water, more heartfelt renditions exploring the humanity behind war are the most interesting parts of the story for me. Whereas some of the lengthier songs are extremely fast paced, and crucial wording can be thrown away, causing me slight confusion with the plot.
Zoë Roberts' is an absolute shining display of comedy acting and professionalism, most enjoyable with her secret missions as Haselden, utilising a complicated prop sequence (Marcus Hall Props) that successfully explores a new area of physical comedy, rather than 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 what audiences go to the theatre to see. Hall is clearly having fun, and it makes us 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 designs can be used more across the show to showcase them more beside a whirlwind final song, and still maintain the surprise. As I previously mentioned the very 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 all on this man's impact, and 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 necessarily expected this level of sincerity, though it is wholly respectful and important for audiences.
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. Personally, I'm not sure whether I would return to the show, having not latched onto it's infectious hype, though I still heavily 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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