Operation Mincemeat: Review

There’s a true sense of the hero returns as Operation Mincemeat opens its first ever world tour at Lowry’s Lyric Theatre.

Now a West End and Broadway hit with numerous awards, it is hard to imagine the musical’s humble beginnings in front of an audience of 80 in Lowry’s Aldridge Studio space.

Holly Sumpton as Ewen Montagu credit Matt Crockett

Christian Andrews as Hester Leggatt credit Matt Crockett — Holly Sumpton as Ewen Montagu credit Matt Crockett

SpitLip the talented company behind this inventive show rose up through Lowry’s Artist Development programme over a 10-year funding and mentorship scheme that included supporting other projects and co-commissioning Operation Mincemeat.

Before that, the four creatives behind the company – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts – cut their teeth performing sketch shows at the Edinburgh Fringe. And there is evidence of that background in the tight timing, high energy and carefully orchestrated chaos of Mincemeat.

The result is an exciting reinvention of the genre that will both delight musical lovers and win over those sceptics who say musicals are not for them.

Seán Carey as Charles Cholmondeley credit Matt Crockett

Set in 1943, it is based on the bizarre true story of an MI5 mission to use a corpse as a decoy to fool Hitler and give allied troops a clear run into Sicily. It is one of those stories so strange you couldn’t make it up, and audiences will likely be familiar with it from the 2021 war drama starring Colin Firth.

Here the tale is told as a fast-paced, quick-witted comedy with five actors – Christian Andrews, Seán Carey, Charlotte Hanna-Williams, Holly Sumpton, Jamie-Rose Monk – taking on numerous gender-switching roles with lightening precision and clarity. All the cast, except Monk, are reprising their roles performed in the West End and it is an exceptionally polished production with consistent high energy from the opening line to the curtain call.

Jamie-Rose Monk as Johnny Bevan credit Matt Crockett

It’s war time in a secret bunker, so the set is naturally pared back. However, Ben Stones seemingly simple set design, like the show itself, has more than a few surprises, with tongue-in-cheek nods to glitzier musicals, slick reveals and effective integration of Mark Henderson’s lighting design to evoke atmosphere without blinding.

There are some lovely harmonies in the music and some genuinely emotional moments that leave the audience spellbound. This fresh, clever, and funny musical is probably the best show you will see this year. It is certainly the best I’ve seen for a long time. Don’t miss it.