Review: Operation Mincemeat at Lyceum Theatre

“…Witty, laugh-out-loud funny… a highly entertaining show for all ages…”

Operation Mincemeat, Lyceum Theatre, Sheffield

By Phil Scown

Operation Mincemeat is billed as a musical. If you’re expecting big musical numbers, as with say, Cats or Hamilton, then you will be disappointed. Operation Mincemeat is musical comedy, with elements of panto and ‘the show that goes wrong’. This isn’t a criticism to be taken as a negative, it’s about expectations.

From the first scene, we have gender-blind casting. Ian Fleming is played by Jamie-Rose Monk, and Lieutenant Eden Montague by Holly Sumpton, reminiscent of Cinderella’s ‘Buttons’. Britain is at war, and the team have to come up with a plan to create a diversion. The story of the play is the story of the real-life MI5 Operation Mincemeat during WWII. 

There are eleven musical numbers in Act One and nine in Act Two. These are not real toe-tappers, or songs that will have you whistling as you leave the theatre. The songs are there to move the story along, telling us what is happening. A couple of songs felt too long, the point having been made, but continuing on anyway. The sound on this night was not as clear as it could have been, so some words were missed. Maybe this was the technology and its settings, or possibly the rapid-fire delivery. Pace is a fine line to tread, needing to be fast enough to support the comedy, but not so fast that it can’t be followed. This isn’t a problem throughout, however, and the story is such that the odd lost word doesn’t ruin it. There are a couple of numbers that bring Mel Brooks to mind, both in Act Two: Das Übermensch, and The Glitzy Finale. Both numbers make great use of the cast and unexpected set changes. Thanks to the departments of Sarah Ware as Stage Manager, and Luca Serra for Lighting.

There is great physical comedy. Some of this requires the whole cast of five to work a complex routine. There are rapid costume changes that verge on magical illusion. Then there are the individual performances of physical comedy. Jamie-Rose Monk is excellent in her many roles, particularly as Vice Consul Francis Haselden. Seán Carey, though, is a real master of the craft of physical comedy, giving us many of the laugh-out-loud moments, yet also capable of playing the self-effacing Charles Cholmondeley (pronounced Chumley). Christian Andrews plays the role of Hester (senior administrator/secretary) convincingly, despite being well over six foot tall. I was reminded of Mark Gatiss, who was also in the film. Holly Sumpton and Charlotte Hanna-Williams also owned their main roles as Montague and Jean Leslie, a junior typist. Every one of the cast plays numerous other roles to great effect, giving us both humour and pathos.

There is wit and humour in the writing. From the start, there are digs at the entitled Eton set who believe they are born to lead, but who are useless without the more talented people below them. There is comedy based on one-liners, and more complex humour too. However, the show is not all played for laughs. Cholmondeley has a good solo, which is audible, and there is a good solo part for Hester in the poignant number Dear Bill. Later in Act One we have intercut scenes of the team celebrating in London, balanced against the tension of the mission as it unfolds.

Operation Mincemeat is a comedy about war, which also acknowledges the dark side – and the heroism – for those at home, and those who go off to war.  The script and production are multi-layered. Though the show can be watched at a surface level for laughs, there are also deeper observations on the structures of society, and the nature of war.

All generations were in the audience for this performance, which doesn’t happen as often as it should. Witty, laugh-out-loud funny, and an eclectic mix of musical numbers and stage techniques from panto to drama, make this a highly entertaining show for all ages.

Operation Mincemeat plays at Lyceum Theatre Sheffield until Saturday 25 April. Tickets are available here.

Phil Scown has been a regular theatre-goer since his student days many years ago. Mysteries, thrillers, ghost stories, comedies and musicals are all part of his theatre diet. Phil writes short stories in a variety of genres, some of which have become screenplays. He likes to tour England, Scotland and France, nowadays by car rather than motorcycle. At other times Phil likes to cook and to drive his Caterham, though generally not at the same time.