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Christian Andrews as Hester Leggatt. Pictures Matt Crockett Operation Mincemeat Wolverhampton Grand ***** Operation Mincemeat, the 1943 British Intelligence deception plan that convinced Germany that the allies were attacking Greece and Sardinia instead of Sicily, was a ploy that saved thousands of allied lives during World War 2. It’s a fascinating piece of history, interweaving strong characters with an incredible story. An obvious choice for a movie, perhaps less so for a stage musical. Or so you would think. The show’s meteoric rise since its low-key Fringe 2019 debut has seen it pick up two Olivier Awards, a Tony and enjoy an extended run on Broadway. It now embarks on a major UK tour, bringing its extraordinary telling of an important slice of history to audiences across the country. The transition, from a simply staged fringe show to a full-on big venue powerhouse is quite marked. The core cast of five actors remains, each tackling a dazzling array of roles and genders, but the staging and effects have ramped up to make this so much more than a small piece of clever satire. Whilst the story remains the focus, the theatrical experience is now given huge pazazz and polish. While the story is the crux, it’s the telling of that story that makes this show stand apart. Five closely knit actors switch in seconds between very different characters, mixing sharply observed comedy with full dance routines (there’s even a Beyonce parody) and moments of heart-breaking pathos. The Cabaretesque number that opens Act 2 is eye popping, as is the announced ‘Glitzy finale’ featuring an illuminated staircase and a mock up World War 2 aeroplane . It’s delightfully silly at times - Pythonesque even - but it makes its point too. The unsung role of women in subservient secretarial roles is nicely observed and parodied. All done with humour (and a dance routine) as opposed to verging on a political rant. Let’s face it, points are always made better when there’s a glittery hat and cane involved.
Holly Sumpton as Ewen Montagu On-point lighting frames the action beautifully and the musical arrangements are effectively simple - there to support rather than dominate. The industrious cast seamlessly introduce various pieces of set to keep locations flowing, creating a fast moving, fluid story that never drop pace or fails to engage The strength here though is the unity of the cast. As one, they go from comedy to pathos to jazz hands and twirling - it’s a masterclass from each and every one of them. There are many highlights – but the showstopper for me was the heart-breaking ballad, Dear Bill delivered by the matriarchal figure, Hester Leggatt (Christian Andrews). A mix of tender lyrics and impeccable delivery. You could have heard a pin drop. Other cast members, playing multiple role included Holly Sumpton, Jamie-Rose Monk, and Charlotte Hanna-Williams. The world of Musical Theatre is a heady mix these days. Alongside the evergreen classics that still command a place at the table, there is a new breed, brimming with social observation, asking questions and exploring the world in sharp detail. Shows like Book of Mormon, Hamilton and now this. Sublime, sizzling and simply glorious. This is theatre at its very best. Tom Roberts 17-03-26 |
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