Theater Review
OPERATION MINCEMEAT
Two hours and 30 minutes, including one intermission. Playing at the Golden Theatre, 252 West 45th Street.
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Like any Broadway show, the musical “Operation Mincemeat” offers merchandise and refreshments during intermission.
Consider adding an energy boost to that list.
This frenetic World War II comedy, imported from London and now playing at the Golden Theatre, delivers a relentless barrage of high-energy antics. While brimming with ingenuity and clever dialogue, its hyperactive style can become overwhelming.
Eighty-two characters are brought to life by a dynamic ensemble of five British performers: David Cumming, Natasha Hodgson, Jak Malone, Claire-Marie Hall, and Zoë Roberts.
The cast members project, leap, enthusiastically deliver lines, wink suggestively, playfully exaggerate expressions, execute numerous costume changes, and race through rapid-fire lyrics with the speed of auctioneers. Cross-gender casting is frequent. The only thing missing is a moment to catch their breath.
Alongside Felix Hagan, Hodgson, Cumming, and Roberts also share writing credits for this extremely whimsical production. The show merges elements of “Hamilton”-esque rap, “Six”-inspired dance-pop, and anthems reminiscent of “Billy Elliot,” incorporating broad physical comedy and setting it all to a dizzying pace.
The narrative proved captivating, but the comedic approach felt excessive.
The obscure, yet factual, story – recently adapted into a serious film of the same title featuring Colin Firth – holds inherent fascination.
Set in 1943, the plot centers on an actual intelligence operation from World War II. British forces deceived Nazi Germany regarding the invasion of Sicily by strategically placing fabricated invasion plans on a deceased body disguised as a military officer.
Such a concept might not immediately suggest a musical, yet the production features a techno-infused dance sequence titled “Das Übermensch,” performed by Nazi figures. Even though this historical event is far from lighthearted, it’s now presented as a comedy culminating in a high-energy finale and a shower of confetti.
This unconventional approach might explain the fervent following “Mincemeat” has gained in the UK. It’s a resourceful piece from a resourceful company with modest beginnings, and the underdog appeal resonates universally. However, on Broadway, it becomes another unique, small-scale production amongst a diverse season.
Let’s bypass the remaining 77 characters. The core five are MI5 operatives operating within the secure confines of the British government. Educated at elite universities, they embody a spectrum of personalities, from pompous figures to intellectuals.
“Some were born to follow, but we were born to lead,” declares Ewen Montagu (Hodgson), a self-absorbed character who dominates every scene. Concurrently, Charles Cholmondeley (Cumming), the mastermind behind Mincemeat, displays an intense interest in insects and reptiles. “I wish I was a maggot,” he vocalizes in song.
Essentially, imagine Michael Scott and Dwight from “The Office” undertaking the mission of defeating the Germans.
Genuine emotion emerges through Malone’s portrayal of Hester, a secretary who develops empathy for the anonymous deceased individual the team obtains merely as a tool. The colder agents refer to it as a “Trojan corpse.” Indeed, moments of sharp wit are present.
Malone, arguably the most accomplished performer in “Mincemeat” in both acting and singing, delivers a poignant and refreshingly tranquil, though slightly protracted, musical piece titled “Dear Bill.” In it, a tearful Hester composes a fictional letter from the supposed fiancée of the deceased soldier.
Another emotionally charged ensemble piece, “Sail on, Boys,” possesses musical appeal, although it feels narratively superfluous.
The musical score features several memorable melodies that become ingrained due to the show’s frequent reprises – a theatrical technique as quintessentially British as afternoon tea. The clever lyrics, sometimes lost in the live performance, are more easily understood when listening to the soundtrack.
Director Robert Hastie, along with the cast, shines in skillfully distinguishing the numerous roles at an astonishing pace. Despite the convoluted source material, the musical maintains clarity throughout.
However, the production could benefit from greater scale. The Golden Theatre’s seating capacity exceeds its prior venue in London’s West End, the Fortune Theatre, by 400 seats. Having experienced the show in both locations, it feels less impactful in the larger New York space. Certain scenes, particularly those reliant on dialogue, become somewhat diluted stateside. When scenes are staged with full lighting on performers simply conversing to the side, the atmosphere becomes casual, almost like an intermission.
Prior to transferring to New York, the producers initiated an online survey posing the question: “Is ‘Operation Mincemeat’ too British for Broadway?”
The answer is no. However, for some viewers, it may simply be excessive.