OPERATION MINCEMEAT Previews- Page 4

[BorisTomashevsky]

Posted: 2/17/25 at 2:19pm

Thanks for the photos. Love the briefcases. Very cute! 

[jkcohen626]

Posted: 2/17/25 at 4:49pm

Commented something to this effect on Reddit and the Redditors were not happy with me. I'm curious how y'all feel. 

How do people here feel about the key art for this show? For those who don't know, it's a minimalist representation of Hitler. The squiggle is his hair, the briefcase is his mouth, and its handle is the moustache.

I find this kinda offensive. I'm Jewish. But, I don't mind WWII or Nazi humor. I love the way this show satirizes the Nazis. But, the logo isn't satire, it's just Hitler front and center. I suppose it's crafty to hide him in plain sight because it's a show about secrets and trickery. But, it's not a show about Hitler, it's a show about British spies, why is Hitler the logo? 

In addition, I think it's just bad marketing. It's so hard to decipher, I haven't met anyone who's actually figured it out on their own. People only notice it once it's pointed out. If it hasn't been pointed out to you, it tells you absolutely nothing about the show. Combine that with the fact that the name of the show is TINY. This whole discussion came from a reddit thread where someone posted a Playbill pic and people who didn't know the show couldn't even figure out what show it was supposed to be because they couldn't read the text. 

The response to me on Reddit was that people don't mind "unflattering or mocking" images of Hitler, to which my response is, how is this unflattering or mocking? Others told me that not all art has to be based on what's "most marketable" to which my response is, this is a graphic created by a marketing agency to sell the show, not high art. 

I think the briefcase wordmark is awesome and something like THIS image from their instagram that combines it with the cast announcement photo would serve the show far far better as the key art. It establishes the vibe of the show, it gives you hints about what the show could be about, it far more prominently features the name of show. 
 

Updated On: 2/17/25 at 04:49 PM

[BorisTomashevsky]

Posted: 2/17/25 at 4:54pm

Just took a look and I think the entire show title briefcase is meant to be the moustache, not just the handle. 

[TotallyEffed]

Posted: 2/17/25 at 4:59pm

BorisTomashevsky said: "Just took a look and I think the entire show title briefcase is meant to be the moustache, not just the handle."

 

Was just typing this. The whole briefcase represents the mustache. I don't know the show but it took me a while to even figure out what you were talking about. It reminds me of the Criterion cover for The Great Dictator, which looks like Charlie Chaplin one way and Hitler when you turn it upside down, which I always thought was clever.

 

If it offends you, you're entitled to that feeling or opinion. Anything Hitler related is bound to be provocative.

Updated On: 2/17/25 at 04:59 PM

[MemorableUserName]

Posted: 2/17/25 at 5:14pm

For the sake of the discussion, the key art in question.

[BorisTomashevsky]

Posted: 2/17/25 at 5:23pm

Americans may be better at musicals, but the Brits take first prize for logos of musicals. 

[vegas3]

Posted: 2/17/25 at 6:16pm

I didn't understand the image before -- now I get it.

A number of folks on Reddit said they were offended by some of the Nazi content in the show.  These are folks who saw the show in London.  It seems like a minority view, but one that is strongly felt by those who have expressed it.

[MezzA101]

Posted: 2/17/25 at 7:18pm

The Olivier-Winning Cast of Operation Mincemeat Sets Their Sights on New York

 

https://www.vogue.com/article/operation-mincemeat-broadway-preview

[ColorTheHours048]

Posted: 2/17/25 at 9:47pm

Left at intermission. I found it relentlessly irritating, for the most part, which I sort of knew it would be going in, but really was not in the mood for this evening.

”Dear Bill” is admittedly an emotional high point, and is justification alone in my eyes for Jak Malone to win a Tony for his performance. However, its sincerity feels out of place in what is otherwise a rather cartoonishly annoying score. The staging is clear enough, and the performers/writers are game for the double/triple/quadruple-duty they’ve created for themselves, but I couldn’t get on board with how cloying it largely came across.

Maybe leaving makes my review moot, but even a more self-aware second act acknowledging how annoying it can be to be so sure of yourself - as the musical is - wouldn’t make up for act one.

[Menken Fan]

Posted: 2/17/25 at 10:11pm

I had such a negative reaction to this show in London, I’m not sure I can bring myself to see it on Broadway. I just don’t get into these shows that have complex plots, small casts playing multiple characters, and the “aren’t we being so clever” approach to storytelling. I felt the same way I did seeing shows like Gentleman’s Guide, Murder For Two, Gutenberg, Mystery of Irma Vep, and most improv shows. It’s just a style that I have a low tolerance for. It didn’t help that I missed half the dialogue and lyrics due to the heavy accents. 

[getatme]

Posted: 2/17/25 at 10:48pm

Saw the show back in September 2023 in London and thought it was cute and entertaining, but not really great aside from Jak Malone's performance of "Dear Bill." Had understudies on for Natasha Hodgson and Zoe Roberts, thought they were great.

Saw the show's final dress and felt similarly. Malone still is by far the strongest performance in the company because at no point does he feel like he is self-congratulating the accomplishment of what the show is pulling off. He is sincerely playing these characters and delivering each moment effortlessly and truthfully. Also found myself really taken by Zoe Roberts, a strong presence and a good sort of straight man around which the insanity spins -- and with Cumming and Hodgson there is certainly insanity.

Was less impressed by Cumming than I was in London, the performance has gotten to be so broad that the moments of humanity and heart feel hollow. Hodgson I also didn't love, lots of winking at the audience and leaning into an already rambunctious crowd (final dress seemed packed to the gills with British fans who had seen the show in London) and the whole thing felt muggy and insincere.

The show itself I think is overall solid. I don't think the score is overwhelmingly strong, there's some decent numbers though none of them are helped by sloppy sound design. The book is very strong, though, clever and well-paced though I do think it's a show/story that is begging to be one act.

Overall it's certainly enjoyable, I'll happily go back to see the show with a more standard audience that isn't screaming or cheering or laughing before a punch line has even been delivered, but I don't think it's shooting to the front of the pack for Best Musical.

[jkcohen626]

Posted: 2/18/25 at 12:24am

I would like to amend an earlier statement of mine, specifically about the cosmetic changes to the show. I described them "minor." I have since seen a TikTok with some sneaky footage of what A Glitzy Finale looks like on the West End and I realized the changes were bigger than I had previously thought. I still wouldn't describe it as the second coming, there were no changes to the vision. But, there was clearly more money to spend and it really looks great. Much glitzier than the West End version!

[bway1430]

Posted: 2/18/25 at 2:08am

ColorTheHours048 said: "Left at intermission.I found it relentlessly irritating, for the most part, which I sort of knew it would be going in, but really was not in the mood for this evening.

”Dear Bill” is admittedly an emotional high point, and is justification alone in my eyes for Jak Malone to win a Tony for his performance. However, its sincerity feels out of place in what is otherwise a rather cartoonishly annoying score. The staging is clear enough, and the performers/writers are game for the double/triple/quadruple-duty they’ve created for themselves, but I couldn’t get on board with how cloying it largely came across.

Maybe leaving makes myreview moot, but even a more self-aware second act acknowledging how annoying it can beto be so sure of yourself - as the musical is - wouldn’t make up for act one."

We had the same experience only I wish I HAD left at intermission. The cloying 'wink-wink, nudge-nudge, aren't we clever' tone of the show wore out its welcome in the first 10 minutes and lost me. How this show has found an audience beats the daylights out of me. 

I found it juvenile, amateurish and very hard work to sit through.

[MasterThespian 2]

Posted: 2/18/25 at 6:38am

Your opinion. Your loss.


bway1430 said: "ColorTheHours048 said: "Left at intermission.I found it relentlessly irritating, for the most part, which I sort of knew it would be going in, but really was not in the mood for this evening.

”Dear Bill” is admittedly an emotional high point, and is justification alone in my eyes for Jak Malone to win a Tony for his performance. However, its sincerity feels out of place in what is otherwise a rather cartoonishly annoying score. The staging is clear enough, and the performers/writers are game for the double/triple/quadruple-duty they’ve created for themselves, but I couldn’t get on board with how cloying it largely came across.

Maybe leaving makes myreview moot, but even a more self-aware second act acknowledging how annoying it can beto be so sure of yourself - as the musical is - wouldn’t make up for act one."

We had the same experience only I wish I HAD left at intermission. The cloying 'wink-wink, nudge-nudge, aren't we clever' tone of the show wore out its welcome in the first 10 minutes and lost me. How this show has found an audience beats the daylights out of me.

I found it juvenile, amateurish and very hard work to sit through."

 

[Jordan Catalano]

Posted: 2/18/25 at 7:19am

Let me start with saying I do like this show a lot - have since I first saw it a couple years ago. I’d wondered how this would play here and after seeing it last night, I’m still wondering. Quite a few people not returning after intermission last night and what I’d call (especially after hearing reports from the first preview) an overall tepid audience reaction. Unless you were the lady in the left mezz who wanted to make damn sure the entire audience heard you scream/laugh at every word said, of course. 

An old man in back of us was LOUDLY snoring the last 20 minutes of the show. I mean so loudly you could hear him over everything else. Speaking of hearing, the sound design really is atrocious right now. Group numbers and especially “fast talking” numbers are completely unintelligible. I heard a few people afterwards really upset by that, as well. 

I hope the kinks can be worked out and this can find its audience here. 

[MemorableUserName]

Posted: 2/18/25 at 8:23am

I'm going next week and was initially disappointed not to be able to get good seats to an earlier performance during the sale. I appreciate all your comments. Suddenly going later seems like a good thing. Hopefully there will be fewer of the diehard stans there then, the sound issues are worked out by then, and my expectations will be tempered enough to not go in expecting the best or worst thing ever and I can take it on its own terms.

[MasterThespian 2]

Posted: 2/18/25 at 8:58am

Some folks sure have their knives out for this one. Why the venom? Because it’s a British musical? Very odd. Frankly, the way this country is going, I consider it an advantage to not be an American production. 

[inception]

Posted: 2/18/25 at 9:22am

bway1430 said: ". 
We had the same experience only I wish I HAD left at intermission. The cloying 'wink-wink, nudge-nudge, aren't we clever' tone of the show wore out its welcome in the first 10 minutes and lost me. How this show has found an audience beats the daylights out of me.

I found it juvenile, amateurish and very hard work to sit through."

I think that's just the British style of humour.  I recently had BBC America added to my cable package and when you watch UK talk shows like Graham Norton they are so completely insufferable.  The American actors who appear must be given a whole primer on how to handle him with punching his face in.

[Bwaygurl2]

Posted: 2/18/25 at 9:43am

MasterThespian 2 said: "Some folks sure have their knives out for this one. Why the venom? Because it’s a British musical? Very odd. Frankly, the way this country is going, I consider it an advantage to notbe an American production."

Nope. People paid money to see a show and a few of them had a strong dislike of the  material. It would be very odd to dislike something because it's British but that isn't what's happening.

Updated On: 2/18/25 at 09:43 AM

[GottaGetAGimmick420]

Posted: 2/18/25 at 9:45am

MasterThespian 2 said: "Some folks sure have their knives out for this one. Why the venom? Because it’s a British musical? Very odd. Frankly, the way this country is going, I consider it an advantage to notbe an American production."

I'm wondering if its in part to people wanting MHE to remain a front runner for best musical? I remember people doing the same thing with Gypsy/Sunset Boulevard posting. Not saying this is everyone, but it is clear as day over on Reddit.

Also, I think that poster is sick. 

[Michelle Birnbaum]

Posted: 2/18/25 at 10:00am

I am kind of floored by the completely different responses here and wonder which camp I will be in when I see it.  I did love Gentleman's Guide.  I remember my parents were divided on 39 steps.

Is the humor similar to Shucked?

[bway1430]

Posted: 2/18/25 at 10:19am

Is the humor similar to Shucked?"

Not really, certainly not in the delivery. SHUCKED was silly but delivered straight which was what made it funny. MINCEMEAT aims to be funny but spends so much time mugging and reveling in it's own cuteness that it often backfires. I wanted to scream at the cast "Don't just do something, stand there". 

 

Updated On: 2/18/25 at 10:19 AM

[Bobster159]

Posted: 2/18/25 at 10:25am

I was there last night in the rear mezz. The views from there are great, the best value on Broadway at $49. You're not far away at all. The upgraded setpiece above the stage for the finale blocks one actor for about ten seconds, but that is the only visual obstruction in the show. The sound design, as Jordan says, needs some work, though I wouldn't call it atrocious, at least from where I was sat (I'm sure it varies throughout the house). It's already better than in London where I lost a good half the words.

In terms of the musical, this remains, for me, a completely brilliant show. It's both riotously funny a la Gutenberg/Book of Mormon, but also carries its heart on its sleeve in such a moving way. Earnestly compassionate from start to finish. Calling it 'wink-wink, nudge-nudge, aren't we clever' misses the mark entirely. Some of the characters think that way, but it's a satire of them... There's so much heart here, and it's a misreading of the show to suggest Dear Bill doesn't fit within the greater whole. Anyway, 10/10 for me, delighted I can return in a much better seat (for even less money!) in a few weeks and I've no doubt I'll be returning again after that.

And I cannot comment on anyone here; there's nothing wrong with not liking a show, but there are some very transparent MHE stans over on Reddit who will do anything to drag other shows down, including this one. It's boring, but that's the internet for you.

[QueenAlice]

Posted: 2/18/25 at 10:48am

I attended the first preview and absolutely detested everything about it, including the audience who appeared to have been flown over from the UK to laugh hysterically at every non-funny thing. I understand there are people who love this type of humour, but I'd really be surprised if this catches on in New York.

[Pandandrum]

Posted: 2/18/25 at 10:53am

I was planning on seeing this, but I'm nervous to see people say it's hilarious like Gutenberg and Book of Mormon, neither of which I enjoyed. I really hated Gutenberg and considered leaving at intermission. After the show, I wished I had. If everyone raving about Operation Mincemeat also loved Gutenberg, I'm afraid...