Book, Music and Lyrics: David Cumming, Felix Hagan, Natasha Hodgson, Zoe Roberts
Director: Robert Hastie
Operation Mincemeat boasts the highest number of five-star reviews for any West End production, and the national tour is picking up plaudits aplenty. It’s easy to see why – war has never been this entertaining…
Where The Producers sent up Hitler, Operation Mincemeat focuses more on the larger war effort, in a tale of tricking the troops. Based on real accounts from 1943, the Germans are blindsided by subterfuge with a corpse, a briefcase and a misleading note. Allied forces are duped into moving their men out of Sicily to Sardinia in an attempt to ‘win the war with a magic trick’.
It may not seem like suitable subject matter for a musical, but Mincemeat manages to find the funnies without ever being insensitive to the subject matter. Laughs come thick and fast, but there is also a real poignancy as we’re reminded of the sacrifices made. This is especially true during Dear Bill, beautifully performed by Christian Andrews as Hester Leggart.
Andrews’ dry wit and sharp comic timing is reminiscent of a young Mark Gatiss. He shows a softer side as Hester too, quietly encouraging the next generation of women – even against her own better judgement. He’s fabulous as body-collector Bernard Spilsbury too, complete with glittering blood stains and a camp flair for all things macabre.
Ewen Montagu (Holly Sumpton) has the classic stiff upper-lip, and that Etonian-graduate air. Montagu always gets his way and won’t take no for an answer. Sumpton captures this unwavering confidence with a cocksure swagger, and has excellent chemistry with her plotting-partner Cholmondeley.
Charles Cholmondeley (Sean Carey) is the nerdy scientist who apologises for even existing, and the underdog we’re all rooting for. Initially out of his depth, it’s Cholmondeley that has the genius idea of The Trojan Corpse that becomes the titular Operation Mincemeat. Carey gives us a masterclass in physical comedy, and this reviewer enjoyed seeing him gradually let go – even standing up to Montagu as he grows in confidence.
Charlotte Hanna-Williams’ Jean Leslie is the pint-sized new recruit desperate to climb out of the typing pool. Clever, brave and strong, she’s flying the flag for feminism and yearns to shake things up at MI5. Jean allows the production to address gender inequality without it ever feeling forced or preachy.
The top brass at MI5 is Jamie-Rose Monk’s Jonny Bevan. Bevan barks the orders and tries to reign Montagu (and his spending) in. Monk’s turn as Haselden – the ‘bafflingly sweaty’ Spanish spy – is excellent, offering a whirlwind of silliness in a slapstick scene with phones and hats. Monk also plays Ian Fleming, with less stage time as the Bond writer but still managing to steal the show.
The cast of five play over fifty roles between them, with astonishing versatility, strong vocals and some very slick quick changes. The entire ensemble work together like a well-oiled (war) machine, with nobody firing blanks in this powerhouse team.
Musically, Operation Mincemeat is packed with toe-tappers. Not only are the songs catchy, the lyrics are often cleverly satirical. Some are spiffingly British, some modern and upbeat, and others tender and poignant. Led by Musical Director Sam Sommerfeld, the live band hit all the right notes, and the levels are perfectly balanced to let the vocals shine.
Ben Stones’ set design is necessarily simplistic, to allow for the fast-paced fun. A wall of blueprints is an inspired backdrop; a constant reminder of the plans that are afoot. The action transforms from the MI5 control room, a submarine deck and a London nightclub with simple set pieces – effortless swapped in and out. No spoilers, but the stage really comes to life in the aptly named Glitzy Finale – where it feels like 90% of the budget is used up in five minutes!
The set is elevated by Mark Henderson’s striking lighting plan. There’s an unexpected use of neon, and clever projection mapping over the blueprints. It’s especially electric in act two opener Das Übermensch, which is reminiscent of German electro-pop artists Kraftwerk.
You’d be forgiven for thinking a war musical may only attract history buffs and the older generation, but this is a show with a broad appeal and a huge following. The writing is razor-sharp throughout, both self-aware and unapologetically British. The tribute to Glyndwr Michael – the real man behind the body of Bill Martin – is pitched perfectly.
Operation Mincemeat is, quite simply, a mighty flash of joy. And for a show set in 1943, this is one of the most refreshingly modern musicals this reviewer has seen. Deserving of all the accolades, expect a riotous romp that tactfully acknowledges the true cost of war.
Runs until Saturday 12th September 2026, before continuing on tour
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