Broadway in Boston’s Fast-Paced Musical ‘Operation Mincemeat’ Is A Cheeky And Moving British Spy-Thriller

By Shelley A. Sackett

In 1943, Ian Fleming (yes, that Ian Fleming) is credited with having written what became known as the Trout Memo. Then assistant to Rear Admiral John Godfrey (chief of the Naval Intelligence Department, or NID), the memo outlined a scheme to deceive the Germans about Allied plans to land in Sicily, luring their 100,000 troops instead to Sardinia and Greece.

Fleming’s plan (which he later admitted he “borrowed” from “The Milliner’s Hat Mystery,” a 1937 crime non-fiction thriller by Basil Thompson) was to let the Germans discover a corpse with a set of false plans on it. The idea was picked up by Charles “Charlie” Cholmondelay, a myopic RAF officer. He unsuccessfully pitched it to his own higher-ups at the XX (or Double Cross System), the World War II counter-espionage and deception operation of MI5. In the process, his idea caught the eye of its chairman (also a spy novelist), who appointed Ewen Montagu, the NID representative, to further develop Charlie’s unusual strategy. Dubbed “Operation Mincemeat,” the plan was approved, a team assigned, and the ball started rolling.

Among those who aided Montagu and “Charlie” were Sir Bernard Spilsbury, a celebrity pathologist; John Bevan, Head of the London Controlling Section, who oversaw strategic deception operations; Hester Leggatt, an administrative assistant in the department that managed Double Cross agents; and Jean Leslie, Wartime secretary at MI5.

Using the body of Glyndwr Michael, a Welsh coal miner’s son who had ingested rat poison, the team created Major Bill Martin, a “Trojan corpse” and entirely fictional Royal Marines officer. He was carefully dressed in an appropriate uniform with his false invasion plans and a love letter from his fiancée, written by Hester (with a picture  of Jean attached) and many other personal artifacts, meant to make Bill believable. They placed these in a briefcase attached to his belt and put it in the sea in the Gulf of Cadiz from the submarine Seraph (the boat’s CO, Lieutenant Bill Jewell, even read the 39th Psalm over him). Half a mile to the south, a rubber dinghy was thrown overboard to provide additional “evidence” of a crash.

The corpse found its way to the Spanish coast where, thanks to the duplicity of the “neutral” Franco government, the plans ended up in Hitler’s hands.

The ruse, proving that fact is often stranger than fiction, worked and became fodder for Montagu’s 1953 book, “The Man Who Never Was,” which was adapted into a 1956 film of the same name. More modern historical accounts include Ben Macintyre’s 2010 book, “Operation Mincemeat: How a Dead Man and a Bizarre Plan Fooled the Nazis and Assured an Allied Victory,” the 2022 Netflix film “Operation Mincemeat,” and finally, the 2023 West End British hit musical conceived by the collective known as SplitLip and now enjoying a must-see run at the Colonial Emerson, Operation Mincemeat.

Ribald and snooty, with elements of Monty Python, Mel Brooks, The 39 Steps, Hamilton, and Looney Tunes, Operation Mincemeat is packed with a stellar lineup of musical numbers and glitzy choreography (Jenny Arnold). It also has emotional depth, flashes of seriousness, the visual candy of a simple but intriguing set, and quick-change costumes (Ben Stones for both). There’s just enough history to satisfy buffs and enlighten the uninformed.

Luke Antony Neville and Erin Ramirez

But the real reason to see the show is the phenomenal ensemble cast, whose talents shine under Robert Hastie’s razor-sharp direction. Playing dozens of different, often cross-gender characters with costume, gestural, and vocal changes, the actors anchor the show and keep the audience engaged for over 2.5+ hours (including intermission).

As Hester and coroner Spilsbury, among others, Luke Anthony Neville steals every scene he’s in. He nimbly changes from stalwart, stony female administrator to flamboyantly sleazy pathologist with a flick of the wrist or donning of a pearled eyeglass necklace. In Hester’s “Dear Bill,” the love letter she composes as Bill Martin’s vicarious fiancée, Neville unleashes heartbreak and private pain that leaves the audience spellbound. Likewise, “Making A Man’ and “Spilsbury” expose the pathologist and his shadiness in a vaudevillian performance complete with sequins and top hat.

Equally splendid are the feline Katie Kleiger as the egomaniacal Montagu (what a set of pipes!), Erin Ramirez as the spirited Jean Leslie, and Jake Bentley Young as the newt-obsessed, nerdy but brilliant Charlie. Alas, Mariah Copeland brings too much British stiff upper lip to her unnuanced Colonel Johnny Bevan, but manages a bit more flair in her other ancillary roles.

The plot pretty much follows the outline of actual events, but SplitLip’s lyrics (when decipherable, an annoying problem throughout the show) add humor, personality and flesh to the storyline’s bones. There is a variety show menu of styles to boot, ranging from sea shanty to 40’s swing to rap and girl-group pop.

Dialogue is often pithy, dry and rapid-fire, spoken for comedic effect as much as substance, but when the characters speak seriously about the fragile state of their world, the impact is chilling in its pertinence to today.

“If people like us just blindly follow orders, the fascists won’t need to bash the door down. They’ll have already won,” Jean tells Charlie. Nazism and Hitler’s tactics sometimes feel a little too familiar for comfort.

Overall, though, the music and dance numbers, the silliness, the sound design with its water effects (Mike Walker) and the sheer chutzpah of the true wartime tale outweigh the need for closed captions and a drawn-out second act (what second act these days is not in need of trimming?). Bottom line, Operation Mincemeat is a jolly good show with a cast that does it justice and then some.

Recommended.

‘Operation Mincemeat’ — Book, Music and Lyrics by David Cumming, Felix Hagan, Natasha Hodgson, Zoë Roberts. Directed by Robert Hastie. Choreographed by Jenny Arnold. Music Direction by Nick Williams. Presented by Broadway in Boston at The Emerson Colonial Theatre through October 20.For more information, visit https://boston.broadway.com/shows/operation-mincemeat/

‘Monty Python’s Spamalot’ Is A Wacky, Irreverent Trip Down Memory Lane

(L-R) Sean Bell, Leo Roberts, Major Attaway, Blake Segal, Chris Collins-Pisano, and Ellis C. Dawson III in the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman

‘Monty Python’s Spamalot’ — Book and Lyrics by Eric Idle. Music by John du Prez and Eric Idle. Based on the motion picture, “Monty Python and the Holy Grail.’ Original screenplay by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin. Directed and Choreographed by Josh Rhodes. Music Supervision and Additional Arrangements by John Bell. Presented by Boch Center Wang Theatre through October 11.

By Shelley A. Sackett

1975 was a very good year. It brought us, for example, the end of the Vietnam War and the first episode of “Saturday Night Live’ (then called “NBC’s Saturday Night”). Bill Gates and Paul Allen founded Microsoft and Russia and the US were still playing nice with the first joint US-Soviet space flight when an American Apollo spacecraft and a Soviet Soyuz spacecraft docked in orbit. Breaking racial barriers, Frank Robinson became Major League Baseball’s first Black manager, and Arthur Ashe became the first Black man to win the singles title at Wimbledon.

And, in tribute to American youth’s love affairs with both the BBC television series, “Monty Python’s Flying Circus” and reefer, the movie, “Monty Python and the Holy Grail,” opened to rave reviews and immediate cult status.

Thirty years later, in 2005, ‘Spamalot,’ the musical “lovingly ripped off” from the film first appeared on Broadway. It closed in 2024, and launched a North American national tour which, if you act quickly, you can enjoy at the Boch Center Wang Theatre through October 11.

The rollicking, pure escapist entertainment is everything a big, Broadway production should be and often isn’t. There is a stand out cast (particularly Amanda Robles as Lady of the Lake), vibrant costumes (Jen Caprio), a magnificent set (Paul Tate dePoo III), terrific choreography (Josh Rhodes, who includes the obligatory tap dance number) and creative lighting (Cory Pattak).

Amanda Robles in the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman

And then there is the real star: the goofy, absurdist humor of the original Python troupe as it digs deep into all things Arthurian. The loosely stitched together series of skits has King Arthur traipsing around England in search of knights to sit at his round table. He and his trusted sidekick, Patsy (a nimble Blake Segal), run into a motley crew of characters, ranging self-flagellating monks to a Trojan rabbit, a cart of not-quite-dead corpses, vulgar French taunters, and a drag prince waiting to be rescued by his closeted (until now) gay knight in shining armor, Lancelot (Chris Collins-Pisano).

Chris Collins-Pisano and Ensemble in the North American Tour of SPAMALOT. Photo by Matthew Murphy and Evan Zimmerman

Even God makes an appearance, giving the story its titular focus. Arthur is to find the Holy Grail and all will be well. That grail, of course, is within each of us, and the quest gives rise to the show’s last two musical numbers, “The Holy Grail” and “Find Your Grail Finale.” Offering uplifting advice, the lyrics include Arthur singing,

“When your life
Seems to drift
When we all need a lift
Tell yourself you won’t fail
Find your grail
Find your grail

Life is really up to you
You must choose what to pursue
Set your mind on what to find.”

Before ending on that introspective, more serious note, however, there is plenty of slapstick, vaudeville-esque humor and pithy, silly dialogue. The quirky supporting characters are hysterical (mostly) and goofy (definitely). The projection-heavy scenic design and faithful incorporation of Terry Gilliam’s original, beloved animation blends nostalgia and modern technology in a way that is just plain fun. From Patsy’s slapping together two coconut halves so King Arthur can pretend he’s riding a horse to its 19 iconic songs, “Spamalot” is a welcome (albeit dated) breath of escapist humor and visual gags, and who, right now, couldn’t use a deeply inhaled hit of that?

Highly Recommended.

For more information, visit https://www.bochcenter.org/events/all