Operation Mincemeat - Broadway

I have been a fan of the musical Operation Mincemeat ever since I heard the original cast recording almost two years ago.  However, I had some trepidation before seeing the show once it opened on Broadway.  Fortunately, any concerns were short-lived.  Operation Mincemeat is wild, manic, and exhaustively inventive.  The show is the brainchild of the comedy troupe SpitLip and members David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts wrote the book, music, and lyrics.  The quartet takes their inspiration from such thoroughly British sources as Monty Python’s Flying Circus, Benny Hill, and the theatrical productions of The 39 Steps and The Play That Goes Wrong.

 

The plot is based on the real-life ploy by the British army to deceive the German forces into thinking the Allies would invade Sardina instead of Sicily during a critical moment in World War II.  How?  Simple.  Fake a crash landing of a British fighter jet with a corpse holding fake invasion plans and hope the papers find their way to the head of German command.  Spoiler Alert - it works.

 

The five-person cast, embodying multiple characters, utilizing minimal sets (Ben Stones) and a brisk story-telling modus operandi, blazes a path of comedic hijinks and ingenious theatrical gimmicks.  Robert Hastie is resourceful and extremely creative in his directing prowess.  He adeptly manages the numerous quick character turnarounds and shows a skillfulness with handling the physical and verbal comedy.  The phone sequence outside the Spanish Coroner’s Office is a gem of mayhem and laughs.  Choreographer Jenny Arnold contributes upbeat numbers that add a dash of splash to the production.

 

The score is tuneful, funny and, at times, touching.  The character Hester Leggat’s (Jak Malone) song, “Dear Bill,” a fictional love letter she dictates to be included with the dead man’s personnel effects, leaves nary a dry eye in the house.  Conversely, the aptly named “Glitzy Finale” pulls out all the stops for, well, a glitzy sendoff.

 

The cast, which plays with swapping gender roles, is zany and altogether amusing.  Still, while jocularity reigns supreme, their primary portrayals are well-grounded as they push the story forward.   Three members of SpitLip are also in the musical - David Cumming, Natasha Hodgson, and Zoë Roberts.  The aforementioned Jak Malone and Claire-Marie Hall, round out the superb cast.

 

With all the accolades, there is one glaring issue with Operation Mincemeat – Mike Walker’s Sound Design.  When the full cast sings, the lyrics are almost indecipherable due to the mix between the vocals and band.   In addition, besides Ms. Hall, the other performers don’t come across as trained singers.  All of this is demonstrably obvious in the Act II opening number “Uber Mensch,” which is loud and just about incoherent.

 

Operation Mincemeat, extended through February 2026, playing at the Golden Theater on Broadway.

Good Night, and Good Luck - Broadway

George Clooney’s return to live theater is a triumph.  In Good Night, and Good Luck, the Hollywood star proves his mettle on the Broadway stage where he portrays the legendary newscaster Edward R. Murrow.  The show, based on the movie of the same name, centers on his reportage, and ultimate take-down, of the junior Senator from Wisconsin, Joseph McCarthy, whose anti-Communist crusade brought a dark period to the country.  Clooney and Grant Heslov wrote the screenplay for the film and have adapted it for the stage.  It is a no-nonsense, fast-moving production that is enlivened by Scott Pask’s highly detailed, large-scale Scenic Design of the CBS television studios.  Daniel Kluger’s well-calibrated, ambient Lighting Design and David Bengali’s superb projections contribute to the realism of the show.

 

With Clooney in the lead, the producers have been able to surround him with seasoned actors and a cast size that accurately depicts how the news is debated, gathered, and finally presented to the American people.  Clooney, who has the look, cadence, and mannerisms of Murrow (including his constant smoking), brings a deliberate and intense focus to the role.  It’s not flashy, but his passion and forcefulness shine bright.  While his name is above the title, he unselfishly subsumes himself within the dynamics of the show.

 

Director David Cromer assuredly helms the production, weaving in all the characters, with their hurriedness and assorted assignments.  The Winter Garden stage is a large space, but by compartmentalizing, the director makes the events flow effortlessly and keeps the focus on the weightiness of the story.  He deftly incorporates the video projections where they become a central, but not overpowering feature, of the show.  Cromer also utilizes a unique device for scene changes - a jazz combo with the sounds of the day, led by the smooth-sounding Georgia Herrs, in a recording studio, above the stage.

 

In addition to George Clooney, other notable actors among the cast are Glenn Fleshler as the affable, principled Fred Friendly, Murrow’s producer (the role Clooney played in the film); Clark Gregg as Murrow’s friend and fellow broadcaster, the troubled Don Hollenbeck; and Paul Gross as the questioning, but steadfast supporter, CBS President William F. Paley.

 

From the very first moments of the show, when Edward R. Murrow is at a podium in front of the curtain, delivering a low-key, yet passionate speech, the similarities to today’s political world are, sadly, striking.  Everything the newsman fought against – the untruths, unjust persecutions, contempt for the law of the land – are repeating themselves over 70 years later.  The show, which uses McCarthy’s own words to indict himself, demonstrates what a free, unencumbered press can accomplish. 

 

Good Night, and Good Luck, playing at the Winter Garden Theater through June 8, 2025.

Agnes of God - Westport Community Theatre

The psychologically intense, Agnes of God, is receiving a superb production at the Westport Community Theatre.  Under Director Tom Holehan’s assured guidance, the three-character play is a penetrating examination of faith, spirituality, and their intersection with science.  In some sense, the production can also be viewed as a cryptic murder mystery.

The plot appears simple and straightforward – Agnes, a novice nun has given birth in her room and possibly killed and hidden the child.  However, she has no memory of the event.  Before going to trial, a court-appointed psychologist is retained to examine the young girl, much to the disapproval of the Mother Superior.  What transpires are multiple therapeutic sessions to possibly determine the real series of events behind the incident.  In between, Dr. Livingston and the head of the convent butt heads until some finality comes to the proceedings.

Priscilla Squiers in Agnes of God at the Westport Community Theatre.

Playwright John Pielmeier has crafted a show that is packed with thoughtful arguments, moral debates, and plenty of twists.  His characters are confident in their motivations, yet still exhibit flawed behaviors, which also humanizes them. 

 

Priscilla Squiers imbues Dr. Martha Livingston with a convincing, naturalistic approach to her work.  She is appropriately soft-spoken, even motherly, and direct with Agnes.  However, when necessary, the actress has no problem demonstrating combativeness with the Mother Superior.  Lucy Babbitt displays a practiced versatility as the domineering Mother Superior.  She demonstrates a roller-coaster of emotions and attitudes in her ideological battles and philosophical debates.  The actress adeptly invokes sympathy as well as anger as the layers of her professional and personal life are slowly, sometimes abruptly peeled apart.  Céline Montaudy’s performance as Agnes is almost childlike.  While not as nuanced as her other cast members, she convincingly conveys a young woman who is confused and in torment.

 

The cast of Agnes of God at the Westport Community Theatre.

Holehan makes good use of Al Kulcsar’s minimalist set and Jeff Klein’s unassuming, ambient lighting design.  The Director adroitly paces the show, starting slowly and patiently building up its intensity.

 

Agnes of God, playing at the Westport Community Theatre through April 12.  Click here for dates, times and ticket information.