Video Editor Angelika Etherington-Smith brings attention to the ‘Operation Mincemeat’ musical, contextualising it from the war studies perspective.
Year: 1943
Setting: MI5
Team: Classified
Affiliations: Classified
Budget: Classified
Goal: Get the British forces to land on Sicily’s shores, imperative for Allied victory in the war.
How on earth is that supposed to make a good musical?
This unlikely tale is a common case of truth being stranger than fiction, as this Olivier-winning musical retells how a corpse fooled Hitler and won Britain the war. Operation Mincemeat, currently residing in the Fortune Theatre, tells the story of a creative, brave, risky and very lucky gamble that a team of MI5 intelligence officers took in 1943 to divert Nazi forces from Sicily to Sardinia. The move was strategically necessary due to the overwhelming numbers of German troops on Sicily’s shores. Moreover, an invasion from Italy was key to pushing the state out of the war since opening a second European front was not a reasonable option in 1943. Operation Husky went off without a hitch, allowing the Allied forces to re-establish themselves as the dominant force in Europe and begin to push back Hitler’s advances.
Described by the BBC as an “ambitious deception operation”, ‘Mincemeat’s musical retelling explores a range of topics highly relevant to both contemporary and perpetual discussions of strategy, ethics, gender and duty in a state at war. Balancing the humour and moxie of modern musicals with the tragedy of a nation fighting for democracy and its own survival, ‘Operation Mincemeat’ is truly a modern West-End treasure. No surprise it’s had ten extensions so far on its run in the theatre district!
It’s hard to decisively determine who the ‘leading men’ of this musical are. This is due to the complex structure of storytelling in the show as well as the creative decision made by Spitlip to write a musical for a gender-bending cast, with two men and three women portraying 32 diverse characters. Promoted on the popular merch t-shirts from the show, the key five characters are Monty, Charles, Johnny, Jean and Hester, with both Ewan Montagu and John Bevan played hilariously and charismatically by Emily Hart and Chloe Hart. The acting abilities of the cast members truly go above and beyond – how else can one explain seeing a 6’4’’ Christian Andrew’s performance of “Dear Bill” and suddenly being transported out of the theatre? You’re no longer watching a show, you’re faced with a shy, prim and prudish woman with a brave heart and a sharp mind. In that moment she is dwarfed and battered by the weight of time and tragedy, as she quietly grieves her lost love, lamenting: “Why did we meet in the middle of a war? What a silly thing for anyone to do”. Before you know it, you go from laughing at Monty’s unearned confidence and Jean’s clever one-liners to quiet crying, interrupted by a mid-show standing ovation that can only rival the reactions sometimes seen at ‘Hamilton’. All that before the end of act one!
For lovers of tech-crew, prop and costume design as well as scenography, this musical truly delivers. From creative use of space to cross international borders, to the performance growing ever more tech-advanced as the plot evolves (or devolves, really, especially with the panic around a certain impossible coincidence), even the grumpiest, toughest critic cannot help but smile at the mere production and direction of the show. That checks out – Mark Henderson, the lighting Designer has earned several Olivier Awards, a Tony and a Welsh BAFTA 2000 for his work on the Millennium Centre in Cardiff. Jenny Arnold, the choreographer is rightly described as “industry-leading” in the show’s programme: every physical twist and turn comes across as so well-crafted and meticulously planned that, to an untrained eye, it appears butter-smooth, significantly adding to the quality of overall performance.
It isn’t just the paid members of the production and creative team that give the show its unique feel. The fans of the musical – budding historians and committed researchers – are the true beating heart of the fandom. Nothing exemplifies this better than a re-write of a show after new information came up! Hester Leggat, a simple secretary central to the operation was lost to history – even her name was misspelt in the original version (as reflected in the official show brochure “Classified: The Mission Behind the Musical”). Fans did everything from coordinating with remaining family members to petitioning the MI5; in this way, they managed to discover real details about Hester, leading to her getting her rightful honours in a plaque unveiled in late 2023. Such admiration, commitment and voluntary work being inspired by a niche musical about a secret operation from 1943? To me, it sounds like that’s definitely a show worth seeing.
It would be remiss to simply talk about the fun or sweet elements of the musical, though, indeed, it is very easy to enjoy (that’s what Ian Flemming and the Glitzy Finale are for). What speaks most to me, however, is the approach that this show takes towards historical integrity, as well as the genuine research that the creative team put in to make the performance human and real – or as real as one can be when attempting to hilariously retell what life was like in the structures of MI5 circa 1943.
What I’m specifically talking about is the conscious choice to call out ethically and socially dubious elements of the operation. This is not a sign of the dreaded ‘woke’ that some might claim is infecting all areas of entertainment and academia. Instead, the team sees their actions simply as a duty – just like the men who rose to the occasion in 1943. While sexism does get explored, especially the way that women fighting in the war are remembered (if at all), class division is presented as another hidden antagonist of the show. Starting with sarcastic jokes about “Eton Men” and lyrics like “‘Cos if you’re in trouble / Don’t scream and shout / Just call the English public school boys – We’ll sort it all out!”, the class commentary develops progressively. When sourcing a corpse for their mission, the team gets one that is “just some tramp that died in East End”.
While Monty, the caricature of an Eton gentleman, consistently insists that ethics can fall by the wayside as long as the operation is successful, every other member – from Navy soldiers and Colonel John Bevan to Monty’s friends and intelligence officers – are shocked at his casual treatment of the body. This theme culminates in a loud shout from Bevan proclaiming: “HE WAS A MAN! HE MATTERED!”. The show’s conclusion speaks even more to the heart and care with which this project was created, as we learn of the team finding the name and origin of the operation’s unsung hero.
For me this is what the musical is really about – not the hijinks, excellent score or sharp one-liners – it’s about memory. It is about paying respect to the men and women who paved the way to larger victories through secret operations, literally fighting for every inch of soil, whether through blood or wit. It’s about giving recognition to those hidden from history, lost to it or never considered worthy of having their name remembered in the first place. It’s about respect for those who chose to serve their country with full awareness that likely no one would ever know of their bravery.
Not quite the British ‘Hamilton’, this show led by a tight-knit cast and crew is built with all the love, heart, humour and talent and has all the necessities to rival the American pop-musical sensation as it premiers on Broadway in 2025. The fans on this side of the Atlantic can only hope to see more awards pour into the history of this show.
Until then, I recommend anyone interested in being emotionally rocked to their core, lovers of good music and fast-paced storytelling, as well as all members of the Department of War Studies to schedule a night in the Fortune Theatre as soon as possible. Consider this your classified briefing: missing out could be your greatest regret. Grab your tickets now and become part of the intrigue – before the final curtain falls!
