Operation Mincemeat at the Golden Theatre
★★★★★
Reader…picture the scene: A 21-year-old woman sat on the front row at the Golden Theatre nearly shaking with excitement, her savings account $200 lighter. Patti LuPone, a few rows back (this aged poorly). A collectible cup, filled with a half-decent sangria – and a very special 15th viewing of the Little Show That Could. Operation Mincemeat has arrived on Broadway, pursued by several strange little British people who were willing to fly 8 hours to experience a slightly different version of their favourite thing. The (albeit predictable) opinion of this one, is that the show is utterly stellar.
*POSSIBLE SPOILERS AHEAD*
Content Warnings:
The theatre has warnings on display, which are as follows:
Haze and Flashing Lights throughout the performance
Watching this show was not triggering for me, however, I did note some content that may prove upsetting to some, which is as follows:
The show alludes to the death of a loved one at war, especially during Dear Bill
The show does mention dying without anyone to remember you, which could be upsetting, but this was well-handled in my opinion and makes the ending all the more beautiful
Bright Lights
Haze
The show can be loud at times
My Review:
To begin with, I came into the performance with a vested interest in the localisation of the show for Americans. Knowing the book and songs better than I know people I’ve confidently claimed to be in love with, I was bound to pick up most things and have my eyes in the skies (Liz, sat in the Upper Mezzanine) catch the rest. The main thing I noticed was that outside of the UK, the production near constantly spoon-feeds you information reminding you who’s fighting who, what’s where, who’s there, and so on and so forth. For example, when the slightly less academically inclined British agent Haselden is stationed in Spain and must attempt to get the Spanish authorities to take the decoy suitcase filled with “invasion plans”, the Spanish doctor’s line “I think the British would want to keep this away from any prying eyes” has been changed to “away from any German spies.” This is one of many little reminders that can feel a little clumsily placed for someone so used to a version without them, that it feels like a speed bump in the otherwise smooth-sailing script. That said, according to my Higher-Ups (also Liz in the Upper Mezzanine), a fair few people around her remained lost to that sort of thing, and it’d be ironic for an access blog writer to start complaining about someone making changes to help everyone have the same quality experience. It had no effect on my enjoyment of the show, which is what matters.
(Note: Before I continue, I’ve since seen the show with its new cast on the West End, the lines have been updated to match the Broadway production – at least in parts. Makes me think about setting myself some firmer personal deadlines.)
The show’s cast work as one impressive machine, with a whole host of cleanly moving parts. The original components – three of them being the show’s writers – are back with an impressively refreshed vigour and a seemingly endless supply of their own unique energy. After so many iterations of Mincemeat, SpitLip’s unwavering dedication to their work still shows. Numbers like ‘God That’s Brilliant’ and ‘Just For Tonight’ create the riotous effect of a huge musical chorus with just five people, because no one is giving it less than 100% every time. They are hypnotically tuned into each others’ respective frequencies, and if they were to have asked me to join their religion at stage door, I would not be able to legally disclose my hypothetical answer.
I would, however, like to single out a performer who perhaps is only now beginning to see the recognition she deserves, and that is the inimitable Natasha Hodgson. Her Montagu combines bravado and absurdity in perfect measure, in a way that makes me feel oddly seen. She brilliantly satirises the Eton and Harrow of it all, leaving you a little annoyed at just how much you like this guy, and a little readjusted on the Kinsey scale. All of this with a stunning and technically flawless vocal that is rich in tone and witty delivery. She plays beautifully off of David Cumming’s nervous, fidgety Cholmondley, the two providing a wonderfully contrasted comedy duo that you can’t help but root for. In addition to the show’s fantastic creatives, Jak Malone breaks the audience’s hearts as the shrewd Miss Hester Leggatt. This was my first time seeing Malone in the role, but I was no stranger to his spectacular voice and acting ability. He is utterly deserving of the praise he is finally receiving, and also deserves commendation for his allyship to the trans community, speaking in one interview about how easily the audience accept him in the show, as a woman, and the example we can all take from that in light of recent (and frankly, less recent, as it’s no use pretending transphobia is a new development) events. Each performer has their own practised idiosyncrasies within each new role in their track, and to see a perfect example of the cleverness and creativity of Fringe reaching these heights leaves those still down here incredibly proud.
It’s plain to see that this show has a special place in my heart – but on top of that, I have a Musical Theatre degree, so I am both academically and emotionally qualified to tell you just how good it is. Operation Mincemeat can’t stop getting better, and whether or not the humour is your cup of kettle-brewed tea, it’s impossible to deny this little miracle its flowers. Congratulations to everyone involved in its creation. Best of luck with the Tonys. Thanks for being utterly weird. Here’s to fifteen more visits to MI5!
Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)
- AnxiousTheatregoer