Displaying items by tag: OPERATION MINCEMEAT

In the 2019 film Yesterday, a struggling musician wakes up in a world where The Beatles never existed. A similar theatrical case study could be done with every musical that might not exist without Hamilton; Operation Mincemeat should be first on the list.

That is not to say it is not enjoyable. In fact, Operation Mincemeat is exactly the kind of show that benefits from being seen in person. The score, written by SpitLip members David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts, is rarely the main attraction. Its appeal lies instead in the comedy, characterization and ingenuity required for five actors to tell the true story of an outlandish World War II operation involving a corpse, a fabricated identity and strategically planted documents.

Director Robert Hastie and choreographer Jenny Arnold build that story out of controlled theatrical chaos. Many of the funniest sequences have the spirit of “Make ’Em Laugh”: fast, physical bits driven by props and exaggerated reactions. Some jokes get a wonderfully disproportionate amount of production value – “Monty the Musical,” for example, is infinitely funnier because the show commits so completely to the bit.

Ben Stones’s scenic and costume designs are simple, endlessly adaptable and essential to the production’s speed. The set provides a flexible framework for the show’s constant transformations, while a change in silhouette or single accessory can distinguish one of the cast’s many secondary characters in seconds. The quick changes are thoughtfully constructed and flawlessly executed.

The cast meets that challenge of executing the creative team’s boisterous visions with tireless commitment. Katie Kleiger makes Ewen Montagu charming and exactly the right amount of insufferable, while Jake Bentley Young’s anxious, endearingly dorky Charles Cholmondeley feels like the most genuinely lived-in character. That sincerity makes Young’s quick steps in and out of secondary roles even funnier. Erin Ramirez gives Jean Leslie the intelligence and brightness needed to infiltrate the operation’s boys’ club, even if the writing leaves her less developed than she deserves.

Luke Antony Neville is the standout as no-nonsense secretary Hester Leggatt, finding comedy in her restraint before delivering the show’s most emotionally complete moment in “Dear Bill.” Neville performs with such clarity and tenderness that the musical briefly stops displaying its own cleverness and simply lets a person be heard, allowing Hester’s pain to reverberate throughout the theatre. Mariah Copeland is less successful when Colonel Johnny Bevan’s military pressure tips into overplaying but shines as the wildly funny Spanish consul Salvador Gómez-Beare and throughout her other transformations.

The Broadway Company of Operation Mincemeat. Photo by Matt Crockett.

The casting conceit is harder to assess. Every performer plays across gender, age, and nationality while cycling through their many roles, a choice fundamental to both the comedy and the show’s perspective on who is permitted to lead, fight, and be remembered. Yet some passages sound as though the score does not sit comfortably in the performer’s range. Since the tour preserves the original production’s basic character assignments, those rough spots feel less like an unavoidable cost of flexible casting than vocal challenges left unsolved.

Other problems are more practical. Between inconsistent diction, accents that could occasionally be pulled back, and uneven sound mixing, too many lines disappear. The dense exposition and distinctly British frame of reference already ask an American touring audience to keep up; every lost lyric risks taking a historical detail or joke setup with it.

The first act starts shakily, with bits that overstay their welcome and subplots that could be trimmed. Then, at some imperceptible point, I realized I was invested. Act II has stronger momentum, but its influences become more distracting. Escalating military conflict is repeatedly conveyed through punishingly paced, rapid-fire rap that feels less like character-driven storytelling than a theater kid channeling Christopher Jackson’s George Washington. Another number veers so close to the sound and structure of Six’s “Ex-Wives” that the resemblance is difficult to ignore.

The attempt to reckon with Montagu’s disregard for Glyndwr Michael, the real man whose body made the operation possible, also falls flat. The show wants to restore dignity to someone its characters treated as a prop, but that reckoning feels nearly as incidental to the musical as Michael initially does to Montagu – an unfortunate gap in a story about whose humanity history overlooks.

Still, Operation Mincemeat succeeds where it most needs to: in the room. This may not be a score I rush home to hear again, nor a musical that escapes the long shadow of its influences, but it is a tremendously inventive live performance. Its best moments come from what five gifted performers and an incredible creative team can make happen before our eyes.

Operation Mincemeat is running at the CIBC Theatre through October 11, before continuing its tour across North America through July 2027. Tickets are available at Broadway In Chicago.

Broadway In Chicago is thrilled to announce that single tickets for Tony® and Olivier Award®-winning OPERATION MINCEMEAT: A NEW MUSICAL, Entertainment Weekly’s #1 Broadway Show of 2025, are now on sale. OPERATION MINCEMEAT: A NEW MUSICAL will play Broadway In Chicago’s CIBC Theatre (18 W. Monroe St.) for a limited two-week engagement, September 29 – October 11, on its North American leg of its World Tour.

In OPERATION MINCEMEAT: A NEW MUSICAL, it’s 1943, and the Allied Forces are on the ropes. Luckily, they’ve got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), OPERATION MINCEMEAT tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

Written by triple Tony Award nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), OPERATION MINCEMEAT began performances on Broadway on February 15, 2025, and continues to play at the historic Golden Theatre (252 West 45th Street), where it has been extended eight times and will soon celebrate its 500^th performance. The West End production, which has been playing at the Fortune Theatre since March 29, 2023, is widely recognized as one of the best-reviewed shows in West End history, holding the record for the most five-star reviews for a new musical, with a tally of 131. OPERATION MINCEMEAT has just launched its world tour, beginning with a UK leg before heading across the pond.

Olivier Award nominated Robert Hastie (Standing at the Sky’s Edge, National Theatre – Best New Musical Olivier Award winner) will reprise his work for the tour, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. The creative team will include Olivier nominated Set and Costume Designer Ben Stones (Standing at the Sky’s Edge), Tony and Olivier winning Lighting Designer Mark Henderson (The History Boys), Tony nominated Sound Designer Mike Walker (Charlie & The Chocolate Factory), Tony nominated Orchestrator Steve Sidwell (Beautiful: The Carole King Musical), and Olivier nominated Music Supervisor Joe Bunker (Spring Awakening). Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Production Stage Management is by Geoff Maus, Casting is by Carrie Gardner, CSA, and General Management is by TT Partners.

OPERATION MINCEMEAT has been nominated for 64 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 13, including Best Musical three times, from the Olivier Awards®, WhatsOnStage Awards, and Off-West End Awards. On Broadway, the show was nominated for four Tony Awards® in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone ’s portrayal of Hester Leggatt, who previously won the Olivier Award® in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans’ Choice Awards, and Favorite New Musical at the Broadway.com Audience Choice Awards.

Over 2,000 performances – from its origins on the London Fringe to the West End, to Broadway, OPERATION MINCEMEAT has cultivated a fervent fanbase, affectionately dubbed “Mincefluencers.” On Broadway alone, more than 2,000 audience members – roughly one in fifty – have bought tickets for multiple performances, including 53 superfans who have purchased tickets for ten or more shows.

OPERATION MINCEMEAT is produced on Broadway, in the West End and on its world tour by Avalon (in association with SpitLip). The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

For more information, visit operationmincemeat.com/tour/us
Follow OPERATION MINCEMEAT on TikTok, X, and Instagram.

TICKET INFORMATION (As of July 17, based on availability and subject to change)
Individual tickets for OPERATION MINCEMEAT: A NEW MUSICAL are on sale now and range from $40.00 - $135.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

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Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

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