★ ★ ★ ★ ★

Reviewer - Annie

*Disclaimer: Gifted tickets in return for an honest review

The buzz of Operation Mincemeat is one that has continued to stick around for years, and if anything it has continued to grow massively this year. After its long awaited transfer, the show has at last joined its peers in the West End and it’s fair to say it certainly fits like a glove.

The show, created by David Cumming, Felix Hagan, Natasha Hodgson & Zoë Roberts, has had a long journey to get to the secretive Fortune Theatre. Originally having a run at the New Diorama Theatre back in 2019, then onto the Southwark Playhouse for 2020 and 2021, then finally last year at the Riverside Studios, it is evident that audiences have enjoyed the show, and that a West End transfer was bound to happen. Much like the nature of the show, the choice of the Fortune Theatre felt rather intriguing, having been home to The Woman in Black for the past 33 years, I imagine many theatre-goers have not stepped inside much more than once, if at all. It was my first time at the Fortune, and it is such a funny building, full of endless stairways and incredibly steep circles in the auditorium, yet something about it felt so charming in relation to the quintessentially British nature of the show.

Based on a true story, as ridiculous a story as it may be - the creative team has really lent into this natural hilarity and as a result the show beams with the best of British satire, sarcasm and humour. If you were to imagine Blackadder goes forth, but as a musical - the show certainly falls into this field of humour, filled to the brim with farcical situations.

Although the reality of the operation was that it won us the war - it was so brilliant to see this lean into satire, as you can just imagine how ridiculous a plan it must’ve sounded or looked up until the moment it did work. It was such a joy to go into a show and leave feeling totally elated. I can’t say there are many shows where I have laughed as hard as I did watching this show.

The five person cast deliver a masterclass in comedy acting - being a totally full body performance from the whole cast, they have perfectly got the balance between creating lovable comedy sketch characters and relatable people in one person. The whole cast are natural born comedy actors, with nothing feeling overly forced for laughs or a reaction - it completely elevated the show, making it even more joyous to watch.

It feels unjust to single out any one of the five cast as all performances were astounding, but credit must be given to some stellar standout moments; David Cumming’s lovable Cholmondeley is a genius performance throughout, and Jak Malone’s rendition of ‘Dear Bill’ demanded there to be not a single dry eye in the house - just stunning. Natasha Hodgson as Montague is every bit the self-righteous yet warming British gentleman, her performance is inspired throughout and reaches its indulgent climax with the appropriately titled ‘A Glitzy Finale’.

Unfortunately, we had some sound issues during the performance, with one actor's microphone completely turning off for at least ten minutes in Act Two. It was a huge shame as it meant some dialogue was missed, however that’s the nature of live performance. However, credit must be given to the professionalism of the actors during this blip as it continued seamlessly and powerfully and almost to the extent of not noticing the lack of the microphone. It's a shame to have missed some dialogue, but I guess this means it can be used as a perfect excuse for a return visit to watch the show again…

The creative team have wonderfully written the music and lyrics, providing an eclectic mix of genres and styles - which although are a total random mix, somehow work in perfect harmony with one another. Flitting from songs feeling reminiscent of those heard in some fan favourite 21st century shows, right through to old naval sea shanties - the cast and orchestra certainly have their work cut out. The music is beautifully written - exploding with delicious 5 part harmonies and catchy tunes - it's no surprise that the soundtrack is hugely anticipated for its release. Although it is a very newly released musical, ‘Operation Mincemeat’ really feels like an old classic, and the songs certainly reflect this - with many being easy choices to add to your ‘on repeat’ playlist.

As with many post-war art forms, the show wonderfully reflects with somewhat rose tinted glasses on, but with the use of wonderfully British humour it manages to bridge the gap of slightly too far and just enough. There is very little which would be too much for the faint hearted which I think makes the show one which the entire family can enjoy together for all different yet all the right reasons.

The orchestra is wonderfully led by MD Joe Bunker - and has an electric sound to accompany the cast. There are many moments of interest between the cast and orchestra, and you can tell from the performance how much they all enjoy playing the movement. Despite having such mighty music to play, the sound does not drown out the lyrics which is always great to see - as some recent shows I've attended have struggled with creating a balance whilst still creating an impact, but this is certainly the opposite case for this show.

Costuming is kept relatively simple for the majority - but still playing on this generic ‘spoof’ character costumes - it was wonderfully of its era but still very much in line with British humour stylistic features. Despite relatively simple base costumes, the use of prop costumes throughout is expertly curated, and appropriately bedazzled throughout. Prop choreography is used throughout which adds further to the wit of the show.

‘Operation Mincemeat’ truly is the show that the West End didn’t know it needed, and I really hope it is here to stay for much longer. Filled with an historically ingenious plot, farcical characters and an old fashioned toss up between egos and honesty. This show is certainly one to catch, so grab a Sangria and go along to witness this homegrown masterpiece for yourself.