Reviewed – 18th August 2021
“simply unmissable, irresistible, audacious and adorable; intelligent and invigorating.”
Midway through “Operation Mincemeat”, the musical from Spitlip, one of the characters quips that ‘you couldn’t write this!’. Based on true events, it embodies the truth-is-stranger-than-fiction adage. However, there is nothing strange about the truth that this show is unmissable, irresistible, audacious and adorable; intelligent and invigorating. That reads like the closing tagline of a review, so I’m wondering where I can go from here. On a Musical Development timeline, “Operation Mincemeat” is still a fairly young sapling, having premiered at the New Diorama Theatre only in 2019. They, too, must be asking where they can go from here. Because quite simply put, it’s already there! It’s got it all.
Based on the Allied invasion of Sicily in the Second World War, it tells the story of how two members of the British intelligence service managed to deceive Hitler by (dubiously and possibly illegally) obtaining the corpse of a Welsh tramp who died eating rat poison, dressing him up as an officer, planting false documents in a briefcase handcuffed to his wrist, and dropping him into the waters off the southern coast of Spain. The following morning it was dredged up by a fisherman. Although Spain was technically neutral, the documents still found their way into German hands. These documents detailed the Allies’ plans to invade Sardinia, when in fact it was Sicily all along. The Germans fell for it hook, line and sinker and, to cut a long story short, the liberation gathered speed. Yes – you couldn’t write it!
Outlandish as it is, SpitLip manage to embellish it further with a goldmine of quirky ideas, characters and scenarios, beautifully and joyously crafted songs, more laughs than you can really handle in one evening and even the odd, serious message thrown in for good measure. The multi rolling, gender-blind ensemble adopt a host of personalities amid a whirlwind of scenes and songs. The score is eclectic, encompassing rap, rock, swing, sea shanties, dance, dubstep, hip-hop and ballads to name a few; with leitmotifs recurring in perfect rhythm to the showstopping numbers that drive the show.
The writing and composing credits are attributed to SpitLip, which comprises David Cumming, Felix Hagan, Natasha Hodgson and Zoe Roberts. Cumming, Hodgson and Roberts make up the cast joined by Claire-Marie Hall and Jak Malone. I could exceed my wordcount reeling off the individual attributes of each cast member but, in truth, none needs to be singled out. Hagan, the Musical Director, is on keys with Ellen O’Reilly on bass and synth bass and Lewis Jenkins on drums and percussion. It would be a crime not to mention Sherry Coenen’s lighting and Mike Walker’s sound design. This is a show where each ingredient (not forgetting Jenny Arnold’s choreography and Helen Coyston’s costume) blends together to produce the perfect concoction. With parts this great it’s hard for the sum to be greater – but it manages.
The real-life Operation Mincemeat was a success. One that changed the course of history. Although Spitlip’s “Operation Mincemeat” probably won’t change the world, it will make its mark in the world of musicals. Every note, sung or spoken, in this show serves a purpose. Even the throwaway adlibs and asides. I’ve already used up my closing tagline, but it doesn’t hurt to repeat. “Operation Mincemeat” is simply unmissable, irresistible, audacious and adorable; intelligent and invigorating. I wish I had a few more hundred words to play with here, but if you want the detail, just go and see it. It’s unmissable. Did I say that already…?
Reviewed by Jonathan Evans
Photography by Matt Crockett
Southwark Playhouse until 18th September
Previously reviewed at this venue this year: