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'Operation Mincemeat' Story and Characters | The BSB Podcast · The BSB Podcast

• 0:00
  Welcome back to another episode of the BSB Podcast.
• 0:03
  In today's episode, we're discussing Broadway's Operation Mintsmeet, the musical proving once and for all that the pen, the plan, and a good power ballad can win the war.
• 0:11
  But before we explore the war briefings of this hilarious musical, please like, follow, and subscribe to the BSB Insider on all social media platforms @bsb.insider Spoiler
• 0:21
  warning,
• 0:23
  and wish to remain unspoiled,
• 0:24
  Pause this video and return once you've received your orders from the General.
• 0:27
  If you're still here, let's dive in.
• 0:30
  So we're back from New York.
• 0:33
  Congratulations, we made it through a week of shows.
• 0:36
  And I am so glad we got to see this, but I feel like when we jumped into Operation Mincemeat, um not that I was dragging you, but you did not know exactly what was going on
• 0:49
  with the show, so you weren't as excited as I was, correct?
• 0:54
  Yes.
• 0:55
  I mean, like, literally the name, all I knew was the name.
• 1:00
  That's literally all I knew.
• 1:03
  And I was like, why would we go see a show about meat?
• 1:08
  I mean, which is fair because again, this is a transfer from the West End that came to Broadway.
• 1:14
  And so it wasn't a show that like maybe was always on your radar.
• 1:19
  So you knew nothing about the show.
• 1:21
  Correct.
• 1:23
  Did you know anything about the history of Operation Mincemeat like the true story?
• 1:27
  didn't know it was a true story.
• 1:30
  So as we're walking in to the theater, you are pleasantly learning so much about this show.
• 1:37
  I mean, still even probably...
• 1:41
  a good quarter.
• 1:44
  I mean, as it does take time when you see a new show for the first time, figuring out, having any idea.
• 1:53
  I mean, obviously I saw the stage because there's no curtain for this show.
• 1:58
  um But yeah, up until that point I was clueless.
• 2:05
  Okay, so I do need to know your first impressions.
• 2:06
  As you're walking into the theater, as you said, there's no curtains, which I forgot into this moment that you mentioned it.
• 2:12
  What was going through your mind as we're walking in and you're seeing, what is essentially like an underground bunker on stage?
• 2:21
  I mean, yeah, it reminds you of like literally every spy movie ever.
• 2:28
  And I have watched plenty of spy movies.
• 2:31
  So it was like that mixed with possibly like Batman.
• 2:39
  That is a good way to describe it.
• 2:40
  is that's fair.
• 2:43
  Because like it is kind of I mean, Batman also has that feel of like a 1940s World War Two bunker, you know, or like the Batcave does at least.
• 2:57
  So with this being a true, well, based on a true story, I don't want to say it is a true story, because obviously nobody can truly portray a story that's this old.
• 3:08
  And obviously this one takes a comedic license with the story.
• 3:13
  But we are telling the story of Operation Mincemeat, which is the plan for the Axis to trick the Axis powers into thinking that we weren't invading Sicily, but Greece, Sardinia.
• 3:25
  um
• 3:27
  What is just striking about the story to you?
• 3:29
  Like, what do you think really stands out about the story of both the true story and the musical operation Mincemeat?
• 3:39
  I mean, they lean into the bizarre immediately, right?
• 3:42
  Because like, how else can you?
• 3:44
  Otherwise, you're like setting the tone for basically Frankenstein a little bit, it feels.
• 3:48
  ah
• 3:51
  yeah, shit, I didn't think about that.
• 3:54
  Yeah, I don't, that was the first thing that came to mind when we talk about, you know, the body um and shipping it off and, you know, make, you know, all of, all of the things,
• 4:07
  but.
• 4:09
  a little more humor with that.
• 4:14
  It definitely gives Mel Brooks, which even in their publicity they even say like this is a mixture of six, Hamilton, and a Mel Brooks show.
• 4:25
  So it's very on brand for what they said you were gonna get.
• 4:30
  So before I dive in too much about it, I do wanna say that that is an excellent mixture.
• 4:34
  Again, I knew a little bit about this.
• 4:35
  I had people that had told me about Operation Mincemeat, why I needed to see it, why it was such a good show.
• 4:41
  I had seen that it kept getting extended, because this is a show that was gonna be here for like eight weeks, and then it was like 16, and now it's, I think they just extended it
• 4:49
  for another 20 weeks.
• 4:50
  Like this is a show that just keeps on going.
• 4:54
  But it truthfully is like the Hamilton of like, it's telling history.
• 4:58
  but maybe not accurate history, but they're telling history.
• 5:00
  And then the history of Six, where we're kind of having fun with history, not that Hamilton isn't having fun, but Hamilton's a little more of like an expected historical
• 5:11
  show, I would feel like, you know what I mean?
• 5:13
  In the veins of like, we're telling the story through hip hop, but it's like, it still feels very history-esque kind of living there.
• 5:20
  And this one, in Operation Mincemeat, it's 100 % like, we are just talking about how fucking bizarre.
• 5:28
  this story is and how ridiculous it is, but it's also true.
• 5:31
  You know what mean?
• 5:33
  Yeah, obviously massive comedic license because the story is only being told by a handful of people comparatively to the hundreds if not thousands of people that would have been
• 5:48
  involved in said operation.
• 5:53
  And so for the people who aren't familiar with Operation Mincemeat the story is that while we're trying to the Axis powers, the MI5, it's MI5, correct?
• 6:06
  Yeah, making sure.
• 6:07
  I don't know my spy stuff as much as I should, but MI5 is basically trying to find a way to trick them and they're trying to come up with a plan.
• 6:15
  And so we really kind of follow a set of like five characters, but really it's kind of the story of Charles and Montague.
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  Which find it funny that we use Charles's first name in the show and Montague uses a second name, I think looks towards the power dynamics, which we can talk in a little bit
• 6:30
  of the show.
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  But we're truly are the two brains behind this operation, which is to get a dead body, it in a submarine, ship it off, and have have fake plans that the Axis powers are going to
• 6:44
  fall for.
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  And I know what you're thinking listeners, right away you're thinking like, this sounds ridiculous, this cannot be true.
• 6:50
  And I thought the same thing as we're watching the show.
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  like, this, like, like I knew it was true.
• 6:54
  I knew going into this, it was true, but like, who's going to fall for plans like this, right?
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  Like, these thoughts going through your head as well?
• 7:02
  Um, I don't know that I was thinking so much about the historical aspects or accuracy just because, again, there's so much happening.
• 7:11
  It's very...
• 7:14
  It's very hard to realize it as factual because of just the nature of the way it's being portrayed.
• 7:25
  Let me ask you this, why is this story worth telling?
• 7:27
  Like what is it about Operation Mincemeat that seems like it's, that this is the time to tell this story and that people are gonna be so darn intrigued with it?
• 7:37
  Well, how deep do we want to go?
• 7:41
  ah
• 7:42
  got a rabbit hole and you can go down it.
• 7:45
  I mean, we're in a place in the world currently where I think there's a lot of curiosity around, unfortunately, around violence, around war, around all of these things, and to
• 8:02
  then have it put in a way that feels less threatening and...
• 8:10
  makes light of what ultimately was an incredibly dark situation, um makes us feel kind of safe.
• 8:18
  ah And so that is, I think, the genius of a show like this where how many people are going to sit through a play, like if this had been a straight show without comedy, how many
• 8:37
  people would have shown up?
• 8:40
  I don't think it would have had nearly the same reception.
• 8:45
  I would agree with that.
• 8:46
  think that.
• 8:47
  You know, I like to call it the Mary Poppins effect that we truly do sometimes need that spoonful of sugar to really digest the messages and or just like the fact of like, life is
• 8:56
  very chaotic right now.
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  And this is a story that kind of mimic some things that are going on right now.
• 9:02
  And so to have a story that is just kind of like you're laughing about it, but as you're laughing, you're leaving and you're like, Hmm, let's how does that relate to our own life?
• 9:10
  This show does that.
• 9:12
  My, you know, there's even parts where they kind of call you to it.
• 9:16
  You know, they're talking about like,
• 9:17
  this can never happen in the future.
• 9:19
  This won't be like this.
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  And like, it is mimicking that.
• 9:21
  So I do think that it is a really intriguing way of telling a really interesting story, but also to get audiences on board with the depravity that is sometimes happening in our
• 9:33
  world, you know?
• 9:36
  Yeah, and I won't skip to the end and spoil it for everyone, but I think there is full circle moments, right?
• 9:44
  Like where there is callback to, yes, we've just spent all this time making fun and cracking jokes and doing musical numbers, which automatically feel.
• 9:55
  maybe light or satirical, and then we do have a few moments of appreciation of the reality and the depth of what actually went down.
• 10:08
  Yeah, there's, I think there was a lot of depth in the second act that I wasn't expecting.
• 10:14
  Cause the first act is kind of like, you're kind of romping through the fact that we're getting to the point where we're dropping a body into the ocean, you know?
• 10:20
  um Especially again, I think that, and we'll talk about the characters a little bit, but Charles was a favorite for me because he was so comedic in this show.
• 10:32
  Maybe it was also because he was a nerd and I appreciate the nerd aspect of it, but.
• 10:37
  You're kind of having this fun romp.
• 10:39
  I can't even describe it because it's it reminded me again of like a James Bond film, but it's funny.
• 10:45
  It's not serious.
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  They're not taking this all seriously.
• 10:47
  And then like things turned very serious for for a moment there when it looks like everything's going to fall apart, especially between the characters that we know, like the
• 10:55
  relationships that we've kind of grown to see interact in this show.
• 10:59
  And I was I don't think I was expecting that from the show.
• 11:01
  I thought it going to be almost like a pure comedy.
• 11:03
  And then it was something deeper.
• 11:07
  which was kind of striking about this.
• 11:10
  Yeah, and I think you need that in order to have those full circle moments or even the call back to what people have experienced in their own lives, that brings a sense of
• 11:21
  groundedness or humanity to the story that maybe we weren't getting through the sheer comedy portion.
• 11:31
  In this show as well, they tackle quite a bit of topics.
• 11:37
  And in my head, I'm thinking that we're talking about gender expectations in the 1940s, and we're talking about betrayal from our friends, and we're talking about the literal
• 11:51
  safety of the world.
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  You know what I mean?
• 11:54
  It is, at times it does feel cataclysmic.
• 11:57
  And what I love about the show too is that
• 11:59
  It never makes it feel like what's happening in the larger world.
• 12:04
  So like what's happening during World War II was any more important than what's happening in the relationships.
• 12:11
  And I'll explain why this is important to me because I always go back to my my psychologist roots here.
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  And I think that sometimes when the world is imploding, we feel like we, we almost feel guilty to remember that like we have personal lives and that things feel heavy for
• 12:26
  ourselves and that we feel like
• 12:28
  like we're being let down or we feel like you know we're being hurt or we don't like how we're being treated ah or that we feel bad for having a good time.
• 12:37
  What I like about the story that these four wrote, the four main stars of the show who wrote the book and the music and the lyrics is that they both like they gave you time to
• 12:50
  appreciate the fact like you can have personal issues and not have to feel bad about it.
• 12:54
  I always kind of go back to I remember as a kid we were told like
• 12:57
  to clean your plate because there were starving kids in Africa, which is like wrong on so many levels.
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  But part of that is that like just because somebody else is suffering doesn't mean you can't also have a bad day.
• 13:05
  Doesn't mean you also can't have your own personal conflicts and that doesn't mean that they're not important.
• 13:09
  So I liked that throughout the story of Operation Mincemeat we had these interpersonal relationships that were just as important as the fact that we are trying to save the world
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  from the Axis powers.
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  And I'm gonna get off my soap box now, but that was one thing I kind of picked up on through the narrative of the show.
• 13:27
  Agreed.
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  I think, well, and that's just it, right?
• 13:31
  The balance of making you think a little bit deeper or connect.
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  Because most of the people in the audience, let's be real, you weren't connecting to being a spy, right?
• 13:40
  You weren't connecting to being in the midst of a war, because a lot of us haven't lived that, fortunately.
• 13:49
  And so, unless you were literally in the military or a spy,
• 13:56
  There's no way to relate aside from the humanity that the show also focuses around.
• 14:05
  Did you think there was gonna be that much humanity?
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  Again, you didn't know much about the show.
• 14:08
  I get it, but like...
• 14:10
  Yeah, I mean, it didn't shock me because you do need some kind of alternative anchor.
• 14:15
  Like you can't just have comedy.
• 14:18
  The show wouldn't be nearly as impactful and I think nearly as successful if it had just been straight comedy with nothing else in it because people like to connect and when they
• 14:34
  feel connected, that's the draw.
• 14:37
  And the laughter is just an added bonus.
• 14:41
  So I'm gonna connect it to another show real quick and I just want your opinions on this.
• 14:46
  What about a show like Book of Mormon, which doesn't have a lot of depth to it and is very just pretty much comedy.
• 14:56
  Like that works for that show.
• 14:57
  Do you think that could work for a show like this?
• 15:00
  Like you don't think that like, I'm like wondering, like, do you think that like, if it was just laughter after laughter after laughter, it would still, I mean, I guess maybe it
• 15:08
  wouldn't have won the Tony then, you know I mean?
• 15:12
  I mean, yes, but I would also argue that there's an equal amount of humanity in that show as well, because you have a story about two people who were started as strangers and then
• 15:24
  became best friends, and you have the religious aspect where so many of us were raised with some kind of religion or now are a part of.
• 15:34
  faith or religion or spirituality, whatever you want to call it.
• 15:37
  And so the extremism, like we all know a little bit that like maybe unpopular opinion, but like most religions are kind of cults, right?
• 15:47
  Like no matter what the religion is, that's just what you're following something.
• 15:52
  um And so exaggerating that and kind of exposing that.
• 16:00
  but then being able to laugh about it because we all know kind of it's true.
• 16:05
  um I could see very similar kind of humor, uh but similar relational connection as well.
• 16:18
  You know, it's interesting as you're talking about like the cult aspect of it as well.
• 16:22
  I was drawn to the fact that Operation Mincemeat, they don't actually say it, but they allude to the fact that like
• 16:27
  being a government official is also kind of like a cult.
• 16:30
  You know what I mean?
• 16:30
  Like you just take your orders and you follow them.
• 16:32
  But sometimes, every once in a while, you get to push back.
• 16:34
  And I feel like this was kind of seen in the Montague and Charles relationship, where Natasha Hodgson's character was very much like the, you don't have to be so scared.
• 16:46
  you don't have, like, yes, you have a general who's telling you what to do, but like your job is also to like give...
• 16:52
  your points of view and you're an expert in your field.
• 16:55
  ah And yeah, you're a little weird, but like you have you're just as important in this as well.
• 17:00
  Like where he Charles at first was very much like the follow the rules, do what you're told, don't interrupt, don't make a fuss.
• 17:06
  And so it's interesting that that also kind of parallels what you were saying about Book of Mormon.
• 17:13
  Yeah, and I think...
• 17:17
  It's that exaggerated.
• 17:21
  kind of pompous character of like, don't have to follow the rules versus the polar opposite, right?
• 17:30
  Like where I'm following every stingy rule that there is and following that or finding that middle ground, which most of the time seems near impossible, but that's, think that's
• 17:43
  kind of where this show finds landing or, or I guess a sweet spot.
• 17:50
  I mean, yeah, the show did find the landing on Sicily's ground.
• 17:55
  ah but come on, that was good.
• 18:00
  ah I do want to talk about another aspect of the show, but I feel like to talk about it, you have to talk about the performances as well.
• 18:07
  uh So we have five people on stage.
• 18:12
  We had two understudies for our show, which does not really negate what we're about to talk about.
• 18:17
  And we are going to talk about the individual performances in a second.
• 18:20
  But something that the show does, and I always want to kind of get your point of view, because I think it's interesting, is that gendered roles don't really exist in the show.
• 18:30
  And I think that's interesting.
• 18:31
  So Natasha is playing a male role.
• 18:35
  And then you have uh Sam, who is the understudy, playing Hester.
• 18:41
  You know, have Zoe who's playing the general who is a man role as well.
• 18:45
  Like, what do you think of like the fact that they kind of took a story?
• 18:49
  I think like in my head, kind of like Hamilton where they like they took these characters, these these real people, and then they adapted them a little bit.
• 18:56
  And like it changes like how you reflect on the story.
• 19:00
  What did you think of kind of like the gender swapped characters and how that played into the dynamics in the show?
• 19:05
  That was a mouthful.
• 19:06
  I'm sorry.
• 19:08
  No, you're good.
• 19:10
  I mean, just as you were saying that, it got me thinking about how had this been the early days of theater, and had it only explicitly been men, which it was, men play women's parts
• 19:27
  regularly and no one bats an eye.
• 19:29
  But for some reason, it feels different for women.
• 19:38
  to play men.
• 19:40
  Yikes.
• 19:41
  Yeah.
• 19:41
  feels like a new idea.
• 19:43
  Like we're just now discovering, and not in a drag kind of way, although it kind of is a little bit, but it's not exaggerated.
• 19:53
  It's just, yeah, this woman is playing a man and you're just accepting.
• 19:57
  Or I don't, maybe I shouldn't even be using the term man.
• 20:01
  Maybe I should just say male presenting.
• 20:03
  I'm honestly not sure how the show in the book is written.
• 20:08
  um
• 20:11
  because it seems very intentional.
• 20:13
  Like we intentionally have someone who's female identifying playing a male identifying role and vice versa.
• 20:20
  Or we're stretching the gender binary in general, which I think the show does tackle without making it a plot point, which I appreciate.
• 20:34
  I think it's one of the first shows where that also is probably why it's doing well, because it's just this unspoken thing that's ultimately proving that it doesn't matter.
• 20:50
  And I think we saw something similar with Hamilton, right?
• 20:54
  Where we had people of color who were playing what used to be...
• 20:59
  predominantly white roles or vice versa to the fact where like it didn't matter um Like those roles were no longer Explicit to any given group.
• 21:16
  I guess I don't want to say it doesn't matter.
• 21:17
  I think it was intentional so I think it does matter but in regards to Being historically accurate or what have you um
• 21:29
  Yeah, I think it's a little bit groundbreaking, em especially for Americans.
• 21:37
  Sure.
• 21:38
  And I do want to say along those lines, you know, we have many different levels of queerness in the show.
• 21:45
  The individual who won the Tony for Hester is like gender nonconforming or non-binary.
• 21:51
  And so like there's all these different ways of like, like you said, like we're taking a different approach.
• 21:56
  And when you talked about the novelty of maybe like women playing male presenting roles or like female presenting individuals.
• 22:02
  playing those kinds of roles.
• 22:03
  I remember being kind of struck at how cool a novel it felt in SUFFS when we had Woodrow Wilson being played by oh like a woman.
• 22:13
  And like that was really cool in that one.
• 22:14
  And I was, when you're talking, was like, that's the only instance I can really think about in recent Broadway years where we had a role like that.
• 22:21
  And it felt, and I hate that we use the word novel because I don't want to think of it as like a novelty, but like it just felt so new.
• 22:28
  Well, and you know, just a couple streets down, I can't even remember what blocks they were both on, but on the flip side of that, in the same breath, you have Oh, Mary!
• 22:39
  which is a comedy in which, um
• 22:44
  They've got all kinds of gender fuckery happening, right?
• 22:48
  Like sometimes we've got cis women playing uh the role, sometimes we have gender non-conforming or non-binary or trans people.
• 22:57
  Like it's just all over.
• 23:00
  um But it does tend to be usually in a comedic fashion, I would say.
• 23:11
  Probably as kind of a little bit of a safety net because like we're not ready for uh the non-gendered, really non-gendered roles.
• 23:28
  That would be interesting to me.
• 23:30
  Well, and again, I would be very interested in looking at this book because what if originally...
• 23:37
  they weren't gendered and we just are putting whoever can hit those notes and act in that role.
• 23:47
  Like who's to say that if this production doesn't eventually tour or what have you that the roles could be completely flipped?
• 23:57
  We don't know.
• 23:59
  You know, it's interesting because when you talk about that and not trying to get too off topic subject of Operation Mincemeat, but I recently read that um in Shucked, the role of
• 24:09
  Lulu is written as like gender nonconforming ish.
• 24:15
  Like anybody can kind of play the role as long as they can play the role.
• 24:18
  You know what mean?
• 24:18
  uh So it's interesting that you say like there's kind of this and then, you know, if you're talking about Shucked, we had Alex Newell in our Chicago playing, you know,
• 24:28
  you know, as a trans individual and non-binary individual playing a role such as that.
• 24:33
  And like nobody's batting an eyelash now, but that one's a more serious role.
• 24:35
  So I was just trying to say like, there is this kind of change to the gender binary.
• 24:40
  But I was really cool to see in Operation Mincemeat that it didn't really matter how you identify or how you present.
• 24:47
  You're just playing a role.
• 24:48
  almost feels like it's built on talent and not on what people think you should be playing.
• 24:54
  Does that make sense?
• 24:57
  Yeah, because it's literally based on the characterization that you're presenting rather than the assumption of characterization that the audience is putting on the actor.
• 25:10
  And speaking of that, let's, we're gonna dive into the characters a little bit.
• 25:13
  So again, with the story kind of being about Montague and Charles, I feel like even though this is an ensemble piece, they really felt like very two main characters, especially
• 25:22
  because a lot of the other ones were switching in and out to kind of tell their story.
• 25:27
  But of the five, whose performance really hits you?
• 25:31
  And again, listeners, I wanna just preface by saying we had two understudies on our show of five.
• 25:35
  So like two fifths of our show were.
• 25:39
  individuals who did not originate the roles.
• 25:43
  So take it away RJ, what struck you?
• 25:45
  I mean, Natasha was incredible.
• 25:52
  Yeah, the swagger, the swagger of Montague.
• 25:56
  Like.
• 25:57
  I mean just, and even so, even being basically, I mean they all, because there's only five of them, they all are on the stage basically 100 % of the time.
• 26:08
  But I would say they...
• 26:11
  were predominant, like they were playing Montague for the longest amount of time as a primary role compared to everyone else who was flexing between the 72 characters that they
• 26:27
  were covering.
• 26:28
  ah
• 26:31
  their character's name and others.
• 26:32
  You know what mean.
• 26:34
  And so obviously though when you much like Lin-Manuel with Hamilton
• 26:41
  When you write something and you've lived with it for years, it's just next level.
• 26:50
  It's the way that you're breathing.
• 26:52
  You're breathing like the character.
• 26:54
  ah And so you can just tell.
• 26:58
  There's just a difference because they could do it in their sleep.
• 27:04
  And arguably, half of the cast, they've been doing this or been a part of the production process for
• 27:12
  years but i yeah whether it was a a character preference or just i also just really enjoyed their voice was felt very unique to me again we don't hear like
• 27:27
  female voices that are intentionally lowered too often.
• 27:32
  Not that they didn't sink high too, but it was definitely like an alto, I would guess, in a lead role which we almost never see, especially on Broadway.
• 27:44
  So it was just, it was different.
• 27:45
  It was fun and very, very well done.
• 27:50
  It was definitely really cool.
• 27:52
  I loved that Montagu was just so, like you almost wanted to hate him and yet Natasha still made him feel likable.
• 28:02
  And again, I feel like that happens with a lot of spy stories.
• 28:05
  You know what I mean?
• 28:06
  So I do have to give mad props to that.
• 28:09
  Obviously, you know, I love Charles.
• 28:11
  David Cumming was fantastic as this nerdy, over the top,
• 28:18
  kind of cartoonish.
• 28:19
  a lot of these characters did feel kind of cartoonish, you what mean?
• 28:22
  You could see them in like a 1960s Rocky and Bullwinkle episode almost, know?
• 28:27
  I felt very much of that frame.
• 28:30
  I think that the biggest surprise for me was Sam Hartley as Hester, which again was understudy.
• 28:37
  And as RJ can attest, uh there was one part in the show that I was literally crying my eyes out.
• 28:43
  um And I was really impressed with
• 28:47
  with Sam's performance of Hester.
• 28:51
  Like mad props to that.
• 28:54
  Do you need a moment?
• 28:55
  Should we get you some tissues right now?
• 28:57
  Listen, listen, we'll talk about that in episode two.
• 29:00
  um Were there aspects of this narrative or the story that didn't work?
• 29:08
  Or were there parts of the characterizations that you felt didn't fit with the rest of the show?
• 29:16
  Honestly, no, I mean you're just you're thrown around a lot because there's a lot of jumping you you have to I would say have a creative mind or leave your mind open for
• 29:28
  creativity because This set does not change.
• 29:32
  I mean it does but only with props really Or very like small moving pieces I would say and projection so you just you have to
• 29:45
  Be very into the farce aspect that's happening at a very quick pace.
• 29:51
  um And be very, you have to be paying attention.
• 29:56
  Like if you're snoozing on anything, you're gonna lose where you are in the show because it's incredibly fast-paced.
• 30:07
  Real quick before we let the listeners go, I do want to touch on that.
• 30:12
  Yes, this is very farcical.
• 30:14
  We have not seen a farce like this.
• 30:17
  I guess Oh, Mary!'s also a farce with the door slamming and stuff like that.
• 30:22
  I cannot remember the last time we went to a Broadway show where we actually had a true farce such as these two.
• 30:27
  Yeah, I don't know that we've seen one, another one.
• 30:32
  Is Farce coming back?
• 30:33
  Is this making a return,
• 30:36
  Well, honestly, think it's the first musical farce I've seen.
• 30:39
  Like, don't recall.
• 30:41
  Usually farce is just farce.
• 30:43
  It's a straight show.
• 30:45
  It's a lot of physical acting and running around.
• 30:53
  And literally off the top of my head, I can't think of one other one.
• 31:00
  So that's your goal today listeners.
• 31:02
  If you can think of, if you know of another farcical musical, drop it in the comments, shoot us a message on any of the social medias and let us know because we can't think of a
• 31:12
  single one um unless Boop, but we didn't get to see Boop.
• 31:17
  So that could be our farcical musical that we missed.
• 31:22
  But on that note, we are running out of time.
• 31:25
  So stay tuned for part two of our Operation Mincemeat discussion.
• 31:29
  Thanks again for joining us here in our back seats.
• 31:31
  Until next curtain call.