Tag Archives: David Cumming

Operation Mincemeat

Operation Mincemeat

β˜…β˜…β˜…β˜…β˜…

Southwark Playhouse

Operation Mincemeat

Operation Mincemeat

Southwark Playhouse

Reviewed – 18th August 2021

β˜…β˜…β˜…β˜…β˜…

 

“simply unmissable, irresistible, audacious and adorable; intelligent and invigorating.”

 

Midway through β€œOperation Mincemeat”, the musical from Spitlip, one of the characters quips that β€˜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, β€œOperation 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 β€œOperation 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. β€œOperation 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

 


Operation Mincemeat

Southwark Playhouse until 18th September

 

Previously reviewed at this venue this year:
You Are Here | β˜…β˜…β˜…β˜… | May 2021
Staircase | β˜…β˜…β˜… | June 2021

 

Click here to see our most recent reviews

 

Escape From Planet Trash

β˜…β˜…β˜…

Pleasance Theatre

Escape From Planet Trash

Escape From Planet Trash

Pleasance Theatre

Reviewed – 21st November 2019

β˜…β˜…β˜…

 

“combines drag, sci-fi and innuendo galore to create the perfect foil for the abundance of family-friendly shows on for the holidays”

 

It is the year 2050. Earth is no more and is instead known as Planet Trash, the dumping ground for the entire universe. East London drag queen Ginger Johnson and her 28-year-old son Sonny (David Cumming) are its last survivors and spend their days foraging through rubbish. That is until an impending solar flare threatens to obliterate the planet and a discarded weapon that the Intergalactic Government is desperate to get its hands on. Cue the arrival of the Captain of the Star Corp voyager (Mairi Houston) and the ambiguously gendered Private P. P. Parts (Mahatma Khandi).

Their quest, however, soon turns sour when an army of mutant turkeys decide to seek revenge on the human race for having eaten them at Christmases past. Now, it’s up to Ginger and Sonny to save the day and stop the eradication of mankind. Sink the Pink’s brand-new seasonal production Escape From Planet Trash combines drag, sci-fi and innuendo galore to create the perfect foil for the abundance of family-friendly shows on for the holidays.

Johnson and Cumming are the strongest in their roles, with the former having no trouble working the crowd. The rest of the cast sadly do not always seem sure of themselves or their lines. The plot that is set up in the play’s opening scenes is unfortunately rather quickly forgotten. Loose ends are rife in this production and the solar flare and ever-so-important weapon hardly get a look-in.

There are some moments of serious commentary. The play reflects on the climate crisis and capitalist greed and drag artists Maxi More and Lavinia Co-op join the cast as two dark tourists travelling the galaxy. Silliness however wins out in Escape From Planet Trash but without a solid narrative – which Ginger in fact jokes about the play needing – it is hard to be fully invested.

The set is multi-tiered with characters able to ascend and descend several sets of stairs. This makes for some dynamic visuals even when little else is happening on stage. To the left of the stage, the entrance to a sewer pipe and, above it, the interior of Star Corp’s spaceship. To the right, the tin shack house of Ginger and Sonny complete with rooftop terrace and light-up HOME sign. The centre of the stage sits on a rotating platform which allows for some great reveals such as Lavinia tap dancing as the Johnson’s home spins around. The set did pose a few hiccups including the shack’s door swinging open unexpectedly and revealing actors preparing for the next scene.

The lighting (Clancy Flynn) is solid throughout and used atmospherically. Costumes (Julia Smith) are a lot of fun with Ginger wearing a particularly ostentatious white plastic see through mesh bodysuit with a clear plastic overcoat.

The musical direction (Sarah Bodalbhai) is overall very strong. A rendition of Always Look on the Bright Side of Life from Monty Python’s Life of Brian (which the cast sing to a literal piece of shit played by Lavinia) that ends with a reference to the β€˜dis-gus-tang’ video meme is a definite highlight. All the songs are a real blast though the cast do struggle to get the audience to sing along even at moments which beg for it. A finale song would also be good to round off the show in true pantomime fashion.

Escape From Planet Trash is a barrel of laughs and as silly as it is campy. Though the production lacks polish at times, you would be hard-pressed to not enjoy Sink the Pink’s newest endeavour.

 

Reviewed by Flora Doble

Photography by Ali Wright

 


Escape From Planet Trash

Pleasance Theatre until 22nd December

 

Last ten shows reviewed at this venue:
The Accident Did Not Take Place | β˜…β˜… | October 2019
The Fetch Wilson | β˜…β˜…β˜…β˜… | October 2019
The Hypnotist | β˜…β˜…Β½ | October 2019
The Perfect Companion | β˜…β˜…β˜…β˜… | October 2019
The Unseen Hour | β˜…β˜…β˜…β˜… | October 2019
Endless Second | β˜…β˜…β˜… | November 2019
Heroin(e) For Breakfast | β˜…β˜…β˜…β˜…β˜… | November 2019
Land Of My Fathers And Mothers And Some Other People | β˜…β˜…β˜…β˜… | November 2019
Madame Ovary | β˜…β˜…β˜…β˜…β˜… | November 2019
Wireless Operator | β˜…β˜…β˜…β˜… | November 2019

 

Click here to see our most recent reviews