THE TOURING version of Operation Mincemeat – a musical comedy that has been showered with more awards than any other new musical in the last few years – arrived at the Grand Theatre in Wolverhampton last night.
It comes with a phenomenal word-of-mouth reputation for its tear-jerking humour and now, having experienced it, I unreservedly concur.
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 is their first and (thus far) only musical which they have also performed in, on and off, from its 2019 original fringe theatre days, through the West End and across the pond to Broadway.
Picture by Matt Crockett. s
The plot is based on a real Second World War deception plan, codenamed Operation Mincemeat by its MI5 Intelligence Officers. The outrageous idea being to float a corpse in enemy waters, feigning a fall from a British ‘plane, complete with false invasion plans in a briefcase chained to the dead body’s arm. Not the ideal subject for a musical, let alone a comedy you might think – yet it not only works but is a triumph. Inventive in structure, faultless in delivery, meticulous in detail, it’s a glorious non-stop release of energy from get-go to walk down.
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.
The show offers up a stunning score sung brilliantly, with numbers to inspire, make you laugh and on its own there is the now iconic ‘Dear Bill’ to bring on the tears. The writing is clever and lush in both construction and wordage. There’s oodles of jeopardy both serious and farcical in the main layer and a delightful mix of pathos and merriment in the back stories – all executed with the precision of a troupe of the finest tightrope walkers juggling hats.
Picture by Matt Crockett. s
Robert Hastie’s direction stirs the brew in a masterclass of perfection with Jenny Arnold’s choreography fitting alongside it like the other glove of a perfect pair.
Ben Stones’ set with its cycloramic backdrop is akin to a moving matrix of the historic ‘Battleships’ board game. It cleverly pinpoints where we are in the story both in time and geography. Many of the set pieces are ingenious multi-functional constructions where a slight hand turn to the left or right takes us off to a new location. Likewise, Stones’ costumes are made to transform the character with a simple tug into their next role.
Although we are never aware of any rush, there is no time to marvel at the express train pace with which this show moves. From start to finish we are engulfed – it seemed almost a pity to break for the interval and the auditorium quickly refilled eager for more. Rarely have I seen an audience rise as one for the well-earned standing ovation at the end.
Picture by Matt Crockett. s
Operation Mincemeat matches the hype – it’s extraordinary with a magnetism to draw you back again and again. Like the real life plan about Bill, the man who never was, it’s a celebration of the best of British inventiveness in theatre.
Operation Mincemeat is at the Wolverhampton Grand until Saturday, March 21. Click here for times, tickets and more information.
*****
