Review: Operation Mincemeat

🌟VERDICT’S PICK🌟

God, this show is brilliant! 

Opening at the Golden Theatre in March, the highly anticipated, twelve-times-extended transfer of Operation Mincemeat is the most delightfully charming show on Broadway. Telling the true story of the MI5 deception plot of the same name which involved planting a corpse with fake documents in Spain to misdirect the German forces, it has become a sensation on both sides of the Atlantic. With the book, music, and lyrics by British comedy collective SpitLip, made up of Natasha Hodgson, David Cumming, Zoë Roberts, and Felix Hagan, it has been a smash hit on the West End and during its developmental runs across the United Kingdom, earning a slew of five-star reviews, and garnering exceptional word of mouth. Its balance of wit and heart make it one of the most enjoyable afternoons at the theatre I have ever had, leaving me with a smile long after the final curtain fell. 

Claire-Marie Hall, Zoë Roberts, David Cumming, Natasha Hodgson, and Jak Malone in Operation Mincemeat

Directed by Robert Hastie, this show moves at a breakneck pace. The musical (aside from the “Glitzy Finale”) stays surprisingly faithful to the facts, only simplifying and omitting non-essential plot points to streamline and make the plot more digestible. The story truly is as comedic as the musical makes it out to be, and the clever book and lyrics exemplify the insanity. The songs are all in the contemporary musical theatre style, taking inspiration from military marches and various other genres throughout the show, all performed exceptionally by the brilliant cast of five. 

All making their Broadway debuts, co-writers Natasha Hodgson, David Cumming, and Zoë Roberts are joined by Claire-Marie Hall and Jak Malone reprising the roles they originated in the West End. As a part of an ensemble cast, their chemistry is unmistakable and the proof is in the product. Their voices blend perfectly and the physical comedy which makes up half of the entertainment is spot on, but the material gives each individual performer their own moments to shine throughout the show. Hodgson’s portrayal of the egomaniacal Ewen Montagu, the show's narrator, is one of the most stellar performances of the season, and the gruff growl in her voice that defines Montagu perfectly accentuates the power he holds and isn’t afraid to use. David Cumming is delightfully awkward as the protagonist, Charles Cholmondeley, the MI5 agent and “amateur naturalist” who creates the title operation. These two lead characters foil each other, highlighting Montagu’s sometimes rash decisiveness and Cholmondeley’s meticulous caution. 

Playing (among others) Colonel John Bevan, a young Ian Fleming, and Francis Haselden, the profusely sweaty spy who delivers much of the comedy in Act Two, Zoë Roberts commands the stage. Her dry humor and flawless accent work make her performance one of the most impressive. Perhaps the most understated, yet no less impressive is Claire-Marie Hall’s Jean Leslie, an office secretary who assists in the development of “Mincemeat.” Her first act song “All The Ladies” offers a glimpse into how women leveraged wartime necessity into new career paths—often in spaces where they had never been welcome. Though less flamboyant than other characters, Hall’s heartfelt portrayal gives the show its emotional anchor through Leslie’s passion. Rounding out the cast is the sensational, Olivier Award winner Jak Malone. His principal character is Hester Leggatt, a female secretary in the MI5 office, and the beauty of his performance lies in the choice to embody her without relying on makeup or costume—just pure skill and extraordinary vocal precision. He also plays a multitude of secondary characters ranging from pathologist Bernard Spilsbury to a downed American pilot, allowing him to show off his impressive range and impeccable comedic skills.

Operation Mincemeat at the Golden Theatre

However, the standout moment of his performance (and perhaps the entire show) is the song “Dear Bill,” which comes near the end of the first act. In the role of Hester, Malone begins the song simply—she is writing a love letter to be placed in the briefcase of the corpse. However, the song, and the performance, quickly deepen into a more vulnerable moment as she tells the other, younger agents that “this isn’t the first war some of us have lived through.” It is the first moment in the show where the story takes a moment to reflect, allowing itself to sit in Hester’s emotions, and Malone holds the audience in the palm of his hand. The theatre is still, gripped by Malone’s performance and the weight of Hester’s grief.

This show is intentionally modest in terms of its design, reflecting the smaller spaces it was developed in. Ben Stones’ costumes are very well executed in their ability to be switched in the blink of an eye as the actors switch between characters, and give personality to the characters. The set, also designed by Stones, is minimalistic, yet is able to transform into every location the show demands. It remains simplistic—a unit with a few pieces that come on and off—until the finale, where the entire stage bursts open. I won’t say anything else, except that it’s quite the surprise. 

The cast of Operation Mincemeat

This show is a true theatrical and comedic masterpiece. The humor is sharp and natural, and the pacing is meticulously crafted, almost making the audience feel as if they are in the room with the agents. The action races forward as the operation takes shape, yet the show knows when to pause, allowing space for reflection and emotional depth. As delightfully bonkers as it is brilliantly constructed, Operation Mincemeat cements Britain’s latest musical export as a force to be reckoned with on Broadway.

5/5 stars

2 hours and 35 minutes, one intermission 

Golden Theatre