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When I was younger, if I loved a film upon first watch, I’d find myself watching it on repeat for weeks on end. With such a wealth of content at our fingertips in the 21st Century, the sheer volume of must-watch movies, musicals and more means there’s always something new demanding our attention, meaning we rarely get to see a show for a second time – but let me tell you, I’d go and see Operation Mincemeat: A New Musical every day of the week if I could.
The 2024 Olivier Award-winning Best New Musical is at The Regent Theatre this week, and it’s got to be up there as one of the best productions I’ve seen. Sharp, clever, laugh-out-loud funny, and unexpectedly moving, it’s a bonkers, fast-paced and hilarious production about the secret mission that won us World War II.
Going in, I’ll admit I knew very little about the real Operation Mincemeat and the bizarre true story behind it, but that actually made the experience even better. Watching the plot unfold – involving a stolen corpse, fake love letters, espionage, and even Bond-novellist Ian Fleming – felt almost too absurd to be true, yet that’s exactly what makes it so brilliant.
The cast of five are masters of their multiple roles, making it feel like there are twice as many actors in the production. Holly Sumpton as Ewen Montagu was standout – she actually reminded me a lot of Jodie Comer, with that same magnetic presence and razor-sharp wit. She delivered authority and humour in equal measure, proving that while some were born to follow, she is certainly born to lead.
Bringing awkward charm and an ‘almost psychopathic’ idea to the table, Sean Carey made for a fantastic Charles Cholmondeley. His ability to switch between roles in the blink of an eye on stage, too, was astounding.
Christian Andrews was exceptional as Hester Leggatt and beyond, delivering one of the most poignant moments of the entire show with their rendition of ‘Dear Bill’, which I definitely think brought a tear to a few eyes in the audience. As well as the endearing MI5 employee, Christian also played a flamboyant if not fraudulent coroner, a filmmaker thought to be a soviet spy and an American pilot with finesse.
Jamie-Rose Monk’s Johnny Bevan had commanding stage presence and perfectly pitched comic delivery, which was wonderfully juxtaposed by their portrayal of the bafflingly sweating Hazelden. Although I think one of my favourite moments was just into Act 2 where Bevan broke the fourth wall to ask ‘who’s side are you on?’
And last but certainly not least, Charlotte Hanna-Williams as Jean Leslie was effortlessly charismatic, bringing warmth and intelligence to the role. Her ambition and determination shone through every scene, while her vocal performance – along with the rest of the cast, too – was wonderful.
The score is, quite simply, fantastic and if you watch as much theatre as I do, you may recognise some influence from the likes of Hamilton and SIX, with fast-paced lyrical storytelling, huge ensemble energy, and gag-packed lyrics. There are also strong flashes of classic British comedy woven in, including Fawlty Towers, the play of which only departed the Regent Theatre itself a few weeks ago. One of the best lines of the night summed up the chaos beautifully: “I don’t know what’s going on…” “Welcome to the British government.”
The show had an extraordinary ability to switch gears so seamlessly. From the suspense of ‘did we do it?’ to a ‘glitzy finale’. It’s rare to find a musical that feels this original, this funny, and this emotionally intelligent all at once, all while retelling a true story – difficult as it may be to believe at times. Whether you know the history or are going in completely blind like I was, it’s an absolute must-see. Bursting at the seams with the kind of chaos you couldn’t invent, and brilliantly performed from start to finish, this is musical theatre at its very best Operation Mincemeat: A new musical is at The Regent Theatre until Saturday, May 2.
