Operation Mincemeat

*****

As a keen historian I knew the story. This was my first opportunity to catch up with the show itself replete with hyperbole . It’s a good story- but a musical?

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The first 20 minutes I struggled. The narrative was mainly sung through meaning you had to concentrate on the words. The five actors played interchangeable roles, and genders amidst lightning quick costume and scene changes. What on earth was going on? But thr first act runs to seventy five minutes for a reason. The audience adjusts, the story starts to unfold and the audience starts to make sense of it all. The first half songs are very Noel coward and could be being sung in the piano lounge of the Savoy in London.

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Commercially the show is paydirt. A historic story, so no royalties, all original songs, so no third party royalties, only  a cast of five, so low touring costs and low stage set and costume costs- accountancy heaven.

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The second half is decidedly rap, the opening second act number sees as rap song driven at high tempo by five Nazis- I thought I was at a Reform rally, and from then on the pace, and  cohesion never lets up. ( And Nazis in musicals has history- think the Sound of Music and The Producers.)

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The concept, book, music and lyrics all originated from the combined talents of David Cumming, Felix Hagan, Natasha Hodgson and Zoe Roberts – collectively known as Split Lip. It has morphed from its 2019 original fringe theatre days, through the West End and  to Broadway.

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Its construction is its strength, inventive in structure, faultless in delivery, meticulous in detail, with an unrelenting pace.

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The company for the UK part of the tour includes Charlotte Hanna-Williams, Seán Carey, Christian Andrews and Holly Sumpton from the West End cast who are joined by Jamie-Rose Monk, Katy Ellis, Georgia Hagen, Jordan Pearson and Morgan Phillips. This being a five-hander, the casting changes nightly not as understudies but as a gender-blind multiple role-playing interchangeable entity.

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I was caught out  by the pathos of establishing the identity of the mysterious dead corpse. Previously gallows humour, and ribald jokes abounded- but the gear change jolted and worked.

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Robert Hastie’s direction is brisk and relentless, Jenny Arnold’s choreography is demanding and effective. Ben Stones’ set  is simple but versatile, effortlessly transporting us from the War room to Spain- and back.

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Operation Mincemeat  indeed matches the hyperbole with a warmth which is its secret weapon,-a celebration of the best of British inventiveness in theatre, and war time.