OPERATION MINCEMEAT Dazzling Lights Caught in Trade War

If you, like me, are delighted to hear the sensational OPERATION MINCEMEAT is about to make its Broadway debut at the John Golden Theatre, you’re probably watching it’s success closely. There’s only one teeny snag: its specially commissioned marquee lights are stuck halfway around the world, held hostage by some lingering Trump-era tariff disputes. But worry not—this show has thrived on surprising twists since its London Fringe days, so a minor hiccup with lightbulbs won’t keep this unstoppable production from illuminating New York’s Theatre District.

The Zany True Tale That Won Over London

For those less familiar with the phenomenon that is OPERATION MINCEMEAT, allow me to paint you a picture. The year is 1943, the Allies are faltering, and someone hatches an unthinkable scheme to outwit Hitler using a corpse dressed in British military garb, complete with misleading documents stashed away in the jacket pockets. Sound absurd? You’re not alone. Yet this real-life World War II espionage mission ultimately helped shift the course of the war. In the show, as the promotional material so cheekily puts it, it’s Singin’ in the Rain meets Strangers on a Train, with a dash of Noel Coward and Noel Fielding thrown in for good measure.

This singular mix of historical authenticity and irreverent wit comes courtesy of the UK theatre troupe SpitLip, which includes David Cumming, Natasha Hodgson, Zoë Roberts, and Felix Hagan—creative talents who also happen to star in the production (except for Hagan, who stays behind the scenes). OPERATION MINCEMEAT first emerged in 2019 at London’s New Diorama Theatre, a modest fringe venue known for championing experimental work. Despite a limited budget and minimal fanfare, the show gained a loyal following almost overnight. Spurred on by glowing word-of-mouth, it sold out runs at increasingly larger venues such as the Southwark Playhouse and Riverside Studios. By 2023, it had transferred to the Fortune Theatre in the West End, scoring a WhatsOnStage Award and an Olivier Award for Best New Musical, not to mention racking up an astonishing 74 five-star reviews.

The production’s cheeky premise might suggest a madcap farce, but one of its greatest strengths is the dexterity with which it pivots from wickedly funny to deeply poignant. During its West End run, audiences reported being both in stitches and in tears in the span of a single number. Particularly noteworthy was Jak Malone’s Olivier-winning turn as Hester, belting out the heart-wrenching ballad Dear Bill. And in a show so full of comedic mischief, that earnest number became a defining emotional anchor.

Opening Night… With Dimmed Lights?

In a move that seems almost too on-brand, OPERATION MINCEMEAT’s Broadway homecoming is facing a logistical curveball fit for a spy novel. The marquee at the John Golden Theatre was designed to feature thousands of custom-made, ceramic yellow LED bulbs that would spell out the show’s title with bombastic flair. But thanks to the ongoing tariff skirmish set in motion during the Trump administration, those bulbs are languishing in a warehouse in China. Current estimates suggest they won’t arrive until March, which might time nicely with the official opening on 20 March but means the first preview on 15 February won’t be as flashy as planned.

Yet if there’s one production that can sail over such a hiccup, it’s this one. OPERATION MINCEMEAT has, after all, been defined by its ability to transform potential obstacles into comedic gold. If I were a betting person, I’d wager the producers are already brainstorming witty ways to incorporate the missing marquee into the show’s marketing—a tongue-in-cheek nod to the unusual circumstances that seem to swirl around this musical like stage fog.

Behind the Tunes

Part of what makes OPERATION MINCEMEAT such a captivating watch is its all-hands-on-deck creative process. David Cumming, Natasha Hodgson, and Zoë Roberts not only portray key roles but also share writing credits with Felix Hagan, the group’s musical maestro. Working collectively under the SpitLip banner, they’ve created a score that marries wartime big-band flair with contemporary comedic sensibilities. From the toe-tapping ensemble numbers to ballads like Dear Bill, the music feels both fresh and nostalgic, bridging the gap between past and present.

It’s also worth noting that each performer brings an impressive variety of skills to the table. Hodgson plays Ewen Montagu, one of the masterminds behind the real-life ruse, while also co-authoring the show’s witty script. Cumming portrays Charles Cholmondeley, a figure whose name alone typically elicits laughter from uninitiated audience members. Roberts, in a chameleon-like turn, handles Johnny Bevan and a host of other roles, ensuring the pace rarely slows. Meanwhile, Claire-Marie Hall joins as Jean Leslie, delivering an effervescent performance that offsets some of the show’s darker themes.

Newcomers, Standouts, And Understudies

When OPERATION MINCEMEAT lands on Broadway, it won’t just be the main cast making waves. The production boasts a line-up of understudies ready to keep the show afloat if someone falls ill or nips off for a quick break (understandable when you’re singing about top-secret corpses night after night). Among these standouts are Brandon Contreras (who recently appeared in Almost Famous) and Sam Hartley (best known for Gutenberg! The Musical), plus Gerianne Pérez, fresh from Six. Jessi Kirtley and Amanda Jill Robinson also make their Broadway debuts in understudy positions, highlighting the show’s welcoming spirit and appetite for fresh talent.

It’s easy to overlook understudies, but if you’ve ever witnessed a last-minute cast switch that results in an electrifying performance, you know how vital they are. It’s a testament to OPERATION MINCEMEAT’s thorough creative vision that even the understudies are talked about in theatre circles—some are even pre-emptively hoping for a “surprise” night off for the principals, just to see these rising stars sparkle.

Creative Minds, Unified Vision

To pull off a production that swings so rapidly between belly laughs and genuine emotion, you need a robust creative team. The directorial baton is in the hands of Robert Hastie, artistic director of Sheffield Theatres, whose knack for comedic timing and sharp emotional beats has been widely praised. With choreography by Jenny Arnold, OPERATION MINCEMEAT channels the spirit of old-school musical theatre while steering clear of hackneyed dance tropes.

Design-wise, Ben Stones delivers a set and costumes that immerse the audience in WWII-era Britain without making it feel dusty or confined. There’s a certain scrappiness to the scenic elements—whether it’s a battered wooden desk or swirling prop clouds—that underscores the clandestine nature of the mission. Mark Henderson’s lighting and Mike Walker’s sound design further embellish the mood, alternating between the hush-hush corners of intelligence offices and the bright, comedic bursts that define the show’s bigger moments. Rounding out this powerhouse ensemble are Steve Sidwell (orchestrations and vocal arrangements) and Joe Bunker (musical director), ensuring the music soars night after night.

Why World War II?

World War II musicals aren’t exactly scarce, but OPERATION MINCEMEAT sets itself apart by focusing on the improbable brilliance of a single cunning plan. In today’s world, where misinformation and espionage feel alarmingly relevant, this witty caper resonates on multiple levels. The show cheekily reminds us that sometimes, confronting real peril with a dash of audacity and a bit of comedic flair might just be the key to triumph.

Of course, the real Operation Mincemeat was no mere laughing matter—lives were on the line, and the stakes couldn’t have been higher. Yet the musical’s audacious approach to retelling history invites us to engage more deeply with the subject matter, rather than less. It’s a trick few productions manage to pull off without feeling flippant. Here, the comedic veneer acts as a gateway, allowing the sobering realities of war to land with even greater impact.

A Show Shaped By Audiences

One detail that often goes unnoticed is just how organically OPERATION MINCEMEAT evolved, shaped by its committed fan base. SpitLip’s approach to early runs was to solicit feedback from small audiences, refining the script, songs, and staging between each limited engagement. This ongoing dialogue between creators and audiences led to subtle but significant changes, from rewriting comedic bits that didn’t land to reworking dramatic arcs to elicit more pathos. The result is a show that feels deeply in tune with its audience, as though every line is designed to play off the collective energy in the room.

In an era when many productions open cold, fully formed, and rarely deviate from a preset plan, OPERATION MINCEMEAT’s continuous evolution is refreshing. The creative team put their egos aside, rolling up their sleeves and plunging into each wave of responses, both positive and critical. In the end, that collaborative spirit paid off handsomely, as evidenced by the show’s numerous accolades and record-breaking box-office numbers during its West End run.

Marquee lights might be the crowning glory of a Broadway theatre, but as OPERATION MINCEMEAT so deftly demonstrates, theatrical magic doesn’t rely on glowing letters. Come 15 February, a piece of comedic WWII intrigue will explode onto the John Golden stage, crammed with catchy tunes, quickfire wit, and a story so unbelievable, it can only be true. By the time those ceramic yellow LEDs finally arrive, one suspects audiences will already be buzzing about the show—marquee or no marquee.

Whether you’re a sucker for history, a devotee of British humour, or simply someone who loves a good showbiz comeback story, OPERATION MINCEMEAT promises a rare fusion of high stakes, heartfelt sentiment, and a sort of bonkers creativity that can only thrive in the theatre. And if the production’s journey from a tiny fringe stage in London to the bright lights of Broadway proves anything, it’s that an ingenious idea, brilliantly executed, can outshine any obstacle in its path—even a box full of stranded lightbulbs. Because, in the end, the real wattage that illuminates any theatre—whether in London’s West End or on the bustling avenues of New York—is the spark of an irrepressible show. And this one, dear reader, positively glows.