{"id":11699,"date":"2021-07-29T22:43:42","date_gmt":"2021-07-29T22:43:42","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11699"},"modified":"2021-07-30T10:04:36","modified_gmt":"2021-07-30T10:04:36","slug":"operation-mincemeat-at-the-southwark-best-show-in-two-years","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2021\/07\/29\/operation-mincemeat-at-the-southwark-best-show-in-two-years\/","title":{"rendered":"Operation Mincemeat at the Southwark: Best Show in Two Years!"},"content":{"rendered":"\n

It’s Theatre Thursday! like…for real! About a live show! in an indoor theatre! I can’t believe it either.<\/em><\/p>\n\n\n\n

Last weekend, we finally saw the Southwark Playhouse’s production of the new musical Operation<\/em> Mincemeat<\/em>. It has had a few runs in the past few years as the creative team continues to polish it, and we were supposed to see it hmmm a VERY long time ago and it’s finally back and we finally saw and the UK will finally have another great new homegrown musical for maybe the fifth time in 20 years. Yes, we went inside a theatre to see this week’s show. Thank goodness it was so good. If I had risked Delta for a piece of shit I would be so mad.<\/p>\n\n\n\n

Operation Mincemeat<\/em> is not a new telling of Sweeney Todd <\/em>but is instead about the secret deception mission during World War II of that name. The not-well-known-enough-but-hopefully-this-show-will-make-everyone-know-more-about-it-and-also-maybe-other-things-about-this-war-like-the-Holocaust-because-rising-numbers-don’t-know-about-it-and-that’s-insane mission involved, from what I learned in this show: a pretentious posho with impeccable comic timing, a very sweaty detail-oriented nerd, a few secretaries of varying abilities of making you sob, Ian Fleming, a dead body, a movie screenplay, Spanish doctors who aren’t vets so I don’t follow them on instagram, and a plot that just had to work.<\/p>\n\n\n\n

This British mission was a plot of misinformation directed at the nazis, a fake mission they created to steer them off course and attack where they weren’t expecting it. Quite cheeky for Brits, love to see them stop being polite and start getting real. The plot required finding a dead body, creating a false identity for it as a British pilot, ‘crashing’ him off the coast of Spain, and hoping that Hitler reads all the secret documents the corpse was carrying and then changes his plans to match the (fake) plans in the docs, leading to an Allied forces party in Sicily (sounds legit). The musical tells this story so well, thanks to an incredibly fun book, some truly wonderful music, and a game cast that repeatedly impressed me with their skill. Everyone was tops, with standouts for me being Natasha Hodgson with her gutbustingly funny manner as Ewen Montagu, and Jak Malone, who was amazing in several smaller parts but had most of the audience literally weeping<\/em> with his big Act II love letter song in his role as the head secretary. It was like the opposite of a man-playing-woman role as Edna in Hairspray<\/em> – completely nuanced and subtle and gentle and gorgeous. Like. WTF. That whole scene and song and performance was too good.<\/p>\n\n\n\n

The first solid hour of the show is so strong, it renewed my faith in British musical theatre, it made me almost glad to be out of my house, it cleared my skin. It’s not perfect — there is way too much obvious Hamilton<\/em> ‘inspiration’ (and some obvious Six<\/em>), amid a sea of recent works that are clearly trying to hard to capture its magic. But it’s the least embarrassing Hamspiration yet, at least, which says a lot for it considering it’s still wypipo performing the big rapping sections. I would love to see a few bits after that first hour reworked; if they kept up that momentum and quality, it would be sensational. The Act II closer was well considered, with the team’s celebration in the club juxtaposed with the the submarine’s mission. But the direction becomes overly frenetic, and the “let me die in velvet” lyrics to the club song seemed too random to be anything but a wasted opportunity. The finale’s too many moving parts had a similar chaotic energy from trying to do too much (it’s nice to talk about e.g. postwar women’s rights but that’s nothing if not a shoehorned epilogue), although I really loved reprising Act I’s sea shanty (I forking love a good sea shanty).<\/p>\n\n\n\n

My only big problem was with the Act II opener. You know from, well, 600 of my previous theatre ramblings that I’m a shill for big bouncy exciting Act II openers that quickly bring the audience back into the show’s universe. This opener was big and bouncy, but it made us feel sick. It has the cast dressed in nazi uniforms doing a ‘fun’ K-pop-ish dance club-ish LET’S ALL PARTAYYYYY number, and the audience. forking. loved it. They cheered, they danced, they put their hands in the air, and we sat there. It felt so messed up, to be sitting among a packed room of people having fun WITH the nazis. It wasn’t subversive or nuanced, it was just a party. Given the very very disturbing reactions of UK audiences to anything relating to Jews or Jewish culture (which I have written about extensively, unfortunately) (and the rise of fascism, and the rise of nazis, and the quadrupling in antisemitism in London…&c) it wasn’t surprising, just upsetting. A member of the creative team reached out and said that they are still working on making that song hit the right notes instead of what it’s doing in its current form, and I really hope they figure that out. But even if the audience does stop whooping it up with and cheering for the nazis long enough to acknowledge that they are the bad guys, it still wouldn’t serve the plot. I don’t know how to turn this song around so that it’s somehow necessary while also achieving the very difficult task of making the audience have fun with the nazis and then<\/em> making them feel bad about it. I don’t think enough people in the world feel bad about it anyway so this is a big ask.<\/p>\n\n\n\n

But if anyone could make it work, it’s probably this team. It’s such a fun, creative show and could really be spectacular. I can’t wait to see a future iteration of it, once I’m okay with leaving my house again.<\/p>\n\n\n\n

AUDIENCE<\/span><\/strong><\/p>\n\n\n\n

Just like old times! I think everyone will be relieved to know that audiences are back to normal behavior and all of our old favorites are back – the phone-users; the nonstop talkers; the wrapper crinklers; the person who sits behind me and kicks my seat or, with the Southwark seats, really really wants to put his feet on the seat of my chair. Plus, now we have new favorites, like not wearing a mask and coughing. Unfortunately, these new faves were a little too difficult for me to tolerate (am I supposed to?) so it’ll be another while till I try again.<\/p>\n\n\n\n

INFORMATION<\/span><\/strong><\/p>\n\n\n\n

The Southwark seems to want everyone to wear a mask, but believes they have no power to enforce a mandate because the government lifted its mandate. I was under the impression that private businesses can make their own rules but what do I know. At least a third of the audience was unmasked, and others when drinking. The Playhouse also said in an email that ventilation has been increased, like 8 liters more air circ per person or something that sounded very promising. However, this seemed like the least ventilated room I’ve ever been in – it was insanely hot and sticky (and tightly packed) and the air was seriously nearly suffocating.<\/p>\n\n\n\n

Operation Mincemeat runs at the Southwark Playhouse until September 18.<\/p>\n","protected":false},"excerpt":{"rendered":"

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