The latest import from London is a perfect example of the broad slapstick comedy that British audiences are fond of across the pond, and it joins the ranks of several similar shows that have invaded Broadway in the past few years. One of the reasons the new musical “Operation Mincemeat” is successful is the interesting and compelling storyline based on actual events of a World War II covert mission that helped defeat the Nazi invasion of Sicily. Another reason is the exceptionally talented cast of five, who play numerous roles, but always maintain the stability and truthfulness of their main character. The production is strongest when the antics are left behind and the seriousness of the situation is addressed, giving each actor the opportunity to add emotional depth to their characters.

The plot follows the path of the true undercover mission named “Operation Mincemeat,” which averted Nazi troops from Sicily to Sardinia so the Allies could successfully execute an invasion. An unidentified homeless man is found dead on the street from eating rat poison. Two British officers come up with a plan to dress the corpse in an officer uniform, plant misleading correspondence about Ally troops on him, eject him from a submarine hoping that Nazi spies will discover the drowned officer and retrieve the bogus battle plans. The fact that the improbable plan was successful, even surprised the intelligence officers who devised the charade. That’s basically the essence of the plot.

The problem which arises in this new production is all the extraneous scenes and activity added to accommodate the broad humor and musical numbers, resulting in a show that is too long and overly produced. Clocking in at two hours and thirty-five minutes including an intermission, it could easily be trimmed down to one hour and forty-five minutes without an intermission. What surfaces is a battle between accurate storytelling, butting heads with comedy sketch routines which require an enormous amount of quick costume changes and production numbers which seem unnecessary. It sacrifices structure and dramatic arc and becomes a vehicle to showcase the talent of the exceptional cast.

Direction under the helm of Robert Hastings hits all the right marks and keeps the action at a hyperactive level, assuring that none of the material has time to fall flat. The set and costume designs by Ben Stones, provides all the necessary pizazz to make each scene memorable, and it is complimented by the precise and moody lighting design provided by Mark Henderson. Choreography by Jenny Arnold is adequate and serviceable, but not memorable.

The five brilliant actors that keep the show moving at lightning speed are David Cumming as an eccentric Charles Cholmondeley; Claire-Marie Hall as the self-promoting ambitious secretary, Jean Leslie; Natasha Hodgson as the loquacious Evan Montagu; Jak Malone as the stalwart Hester Leggatt; and Zoe Roberts as the commanding Johnny Bevan. There is substantial entertainment value to this production, but as a great musical comedy theatre it misses the mark. Sometimes less is more, especially when weaving together a series of comedy sketches, musical numbers and complicated storytelling, to provide a satisfying theatrical presentation. This production shines most brilliantly when it takes itself a bit more seriously. In this case, when telling such a fascinating true story, there needs to be a little less “mincing,” and lot more “meat.”