This week we look at shows nominated for 2025 Tony Awards.
NEW YORK -- Ripley’s Believe It or Not probably checked “Operation Mincemeat” off its list at some point.
But it certainly wouldn’t have been as preposterous as the musical assembled by three of its actors and Felix Hagan. Based on a true case in World War II history, “OM” shows how the British duped the Nazis into believing there was going to be an invasion in one place so they could move troops to another. The key was dressing a corpse as a Royal Marines officer and stuffing false information in the uniform.
Five actors play a multitude of characters in "Operation Mincemeat," a musical about a World War II operation.
The ruse worked (spoiler alert) but that isn’t the most amazing part of the story. Among those on the team: Ian Fleming, noted for his James Bond novels.
Dozens of “really?” moments pepper the musical until you realize it’s probably best to just go with it and enjoy the hard work delivered by a cast of five. Playing multiple parts (and constantly moving), they populate the stage with a battalion of their own and enjoy enough patter songs to qualify for membership in the Gilbert and Sullivan Society. While some of dialogue gets lost (blame it on accents, lack of familiarity or attention spans) “Operation Mincemeat” is never dull.
Part of it could be the very defined characters the five actors create. Natasha Hodgson, as the leader Ewen Montagu, takes charge frequently and gets the others to embrace sharp gestures. That makes it easy to understand who’s who (and who’s dumber) as the plot thickens. David Cumming, who plays Charles Cholmondeley, a bug-eyed spy with an interest in insects, is the easiest to follow. He makes crisp transitions and becomes distinct individuals on this wildly divergent ride.
Coats, hats -- and telephones -- provide transitions for the actors in "Operation Mincemeat."
Jak Malone as Hester Leggatt, one of the rare females in MI-5, gets the most touching moment of the night and a rare pause for emotion. Insisting a letter they plant on the corpse has to have believability, she pens a “Dear Bill” note that works better than anything else in the show.
Before you can fully embrace the tears, however, director Robert Hastie and choreographer Jenny Arnold have them offering anachronistic moves that turn Nazis into a boy band and Beyonce into a visual reference. (Sudoku gets name-checked, too, even though it didn’t appear until the 1980s.)
Zoe Roberts and Claire-Marie Hall complete the quintet, making it impossible to declare a winner.
Like bits and pieces of Monty Python’s skits, “Operation Mincemeat” demands a “what, what” approach and an appreciation for superior writing and pretty good music.
The actors in "Operation Mincemeat" flow in and out of characters at the drop of a hat, filling the stage with a bounty of spies.
Set pieces are as simple as goofy hats, as complex as a movable ship.
When other truths emerge, audience loyalty is rewarded with updates on key personnel.
An inspiring demonstration of creativity, “Operation Mincemeat” should prompt others to dig into the past – if not to avoid mistakes but to find material. The bunch uncovers a mother lode.
The Tony Awards air Sunday night on CBS.
Based on the true story of Elmer McCurdy, a two-bit criminal, it follows the circuitous journey his body takes through the most unlikely places.
Featuring just four actors, a fascinating set and heartwarming songs, it tells the story of two Helperbots (or robots) who find themselves retired, searching for purpose.
Big showy numbers, expensive set pieces and scenery-chewing sidekicks make you forget this is really a simple story about friendship gone bad.
