If somebody pitched the plot of Operation Mincemeat as pure fiction, I might accuse them of stretching credibility. A stolen corpse, a fabricated identity, a briefcase full of fake secrets, and a plan designed to fool the Nazis, sound more like the ingredients of a spy caper than a genuine military operation. Yet this astonishing tale really happened, and it is that deliciously improbable truth that forms the basis of one of the most inventive and entertaining new British musicals of recent years.
The show’s journey to Nottingham Theatre Royal is almost as remarkable as the story it tells. Written by the British comedy collective SpitLip, Operation Mincemeat began life as a small-scale Edinburgh fringe production, before steadily building a devoted following through a series of sold-out runs. Word-of-mouth enthusiasm transformed it from an under-the-radar cult hit into one of the West End’s biggest success stories. The show is in town for two weeks only, the first of which is sold out already.
From the opening moments, I can see why it is so successful. I am swept into a world where espionage, bureaucracy and the most delightful British eccentricity deliciously collide. The production moves at a magnificent pace, balancing absurd comedy with genuine emotional depth. Beneath the laughs lies a fascinating story about the true life people behind the operation and the moral complexities of wartime decision-making.
The cast of five performers is exceptional, displaying extraordinary versatility as they switch effortlessly between multiple (and I really do mean multiple) characters. Jordan Pearson is simply superb throughout, bringing boundless energy and impeccable comic timing to every scene. His ability to pivot from broad comedy to moments of sincerity is second to none. His performance of Dear Bill in Act One is quite simply breath-taking. Seán Carey delivers a wonderfully eccentric performance as Cholmondeley, the sweet natured, self-effacing and thus ever doubtful brain behind the operation. Katy Ellis is an accomplished Monty with fantastic facial expressions and an ability to break the fourth wall in just the right way to elicit hilarity. Charlotte Hanna-Williams is fabulous as Jean, the tea girl not to be trifled with, and last but not least Jamie-Rose Monk brings infectious energy and versatility to every role she plays. Together they create a tightly knit ensemble that keeps the action flowing smoothly while maintaining the show’s distinctive comic style.
Musically, the production is a triumph. Under the direction of Sam Sommerfield, the four piece orchestra delivers a score that is packed with memorable numbers that range from laugh-out-loud jaunty comic set pieces to genuinely heartfelt power ballads. Each song serves the story while showcasing the cast’s exquisite vocal talents.
Clever staging (Ben Stones) and inventive choreography (Jenny Arnold) ensure there is never a dull moment, while the production’s playful theatricality allows the audience to become fully invested in even the most improbable developments. A personal highlight came with the finale. I’ll not say too much lest I spoil it for you – suffice to say it’s hands down the best end to a show you’ll see.
This show is smart without being smug, moving without becoming schmaltzy and consistently hilarious without losing sight of its human heart. It’s refreshingly different. Go and see it – it is the most entertaining and original piece of theatre currently touring the UK.
