Class Notes: Claire Marie-Hall “Operation Mincemeat”

Summary

Summary of BroadwayRadio Episode: Class Notes with Claire Marie-Hall on “Operation Mincemeat”

Podcast Information:

• Title: BroadwayRadio
• Host/Author: BroadwayRadio
• Description: Broadway's Premier Podcasts
• Episode: Class Notes: Claire Marie-Hall “Operation Mincemeat”
• Release Date: March 28, 2025

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In this engaging episode of BroadwayRadio, host Lauren Clash Schneider sits down with Claire Marie-Hall, a talented cast member of the musical "Operation Mincemeat" currently performing at the John Golden Theatre. The conversation delves deep into Claire's journey with the production, the collaborative creative process, the impact of external factors like the COVID-19 pandemic, and her personal experiences as a seasoned performer in the bustling landscape of New York City.

Introduction to "Operation Mincemeat"

Lauren begins by introducing "Operation Mincemeat", describing it as a unique blend of farce, thriller, and an Ian Fleming-style spy caper. The musical narrates the true story of a covert operation that significantly influenced the outcome of World War II. Lauren highlights Claire's role as Gene Leslie and notes that Claire originated this role in the musical's earliest productions.

Claire's First Impressions of the Play

Claire reflects on her initial encounter with "Operation Mincemeat", revealing her surprise and excitement upon discovering the script. Despite initial uncertainties, her passion for the project quickly grew.

“I was like, this is genius.”
—Claire Marie-Hall, 02:13

She shares how, after joining in late 2019, she was drawn to the play's comedic elements and compelling narrative, which convinced her to audition despite not finding any of the songs online.

Collaborative Creative Process

The discussion moves to the intricate creative process behind the musical. Claire explains that the play was crafted by four individuals responsible for writing the book, music, and lyrics. Initially, the production lacked a dedicated director, leading to a more collaborative and flexible approach.

“We would do kind of, like, scenes and then one of the writers would go out the front and watch us and direct us.”
—Claire Marie-Hall, 02:28

Working with Director Robert Hasty

The introduction of director Robert Hasty marked a significant transformation in the production. Claire expresses her appreciation for Robert's ability to bring an external perspective, which helped tighten the narrative and refine character development.

“It's been lovely to have somebody [...] re-assess characters, kind of come in from a different perspective, tighten everything up.”
—Claire Marie-Hall, 03:20

She praises Robert's direction, noting the smooth transition and the positive impact it had on the overall quality of the show.

Rehearsal Dynamics and Maintaining Professionalism

Maintaining a balance between humor and professionalism is crucial in a musical that blends farce with serious themes. Claire discusses how the cast, having known each other for years, fosters a fun yet disciplined rehearsal environment.

“We do have a really good time. [...] But when it comes down to the work as well, we know exactly where to put the serious faces on.”
—Claire Marie-Hall, 05:12

Impact of COVID-19 and Evolution of the Musical

The COVID-19 pandemic posed significant challenges, leading to the cancellation of plans to showcase the musical at the Edinburgh Fringe Festival. Claire details how the production adapted by conducting a two-day workshop that resulted in substantial script revisions, ultimately enhancing the musical's depth and appeal.

“The COVID-19 shutdown [...] really evolved into what it is necessarily today.”
—Claire Marie-Hall, 05:23

Introduction of the Song "Useful"

A notable addition during the lockdown was the song "Useful," performed by Claire's character Jean and Hester. The song captures the essence of societal contribution during tough times, resonating deeply with both the cast and audience.

“It's a beautiful number. [...] it was the number that basically completed it.”
—Claire Marie-Hall, 07:19

Differences Between West End and Broadway Audiences

Claire shares her observations on the variances between West End and Broadway audiences. She notes that American audiences tend to be more vocal and expressive, which adds a dynamic energy to performances.

“The American audiences are extremely vocal and they tell you kind of like when they're concerned about the character.”
—Claire Marie-Hall, 07:32

Claire's Acting Journey and Continuous Learning

With a rich background in theater, including playing Cosette in "Les Misérables" in the West End at the age of 11, Claire emphasizes the importance of continuous learning. She discusses her ongoing singing and acting lessons, highlighting her commitment to growth as an artist.

“I think you can consistently be learning. I don't think there's ever an end goal for that.”
—Claire Marie-Hall, 08:41

Balancing Education and Professional Performances

Claire reflects on her transition from childhood roles to balancing academic pursuits with professional performances during her A-level studies. She candidly shares her decision to pursue acting over a potential career in law, a choice that shaped her future in theater.

“At 18, I got the guts to turn to my mum and be like, I think I want to be an actress.”
—Claire Marie-Hall, 09:35

Enjoying Life in New York City

Beyond her professional life, Claire expresses her excitement about living in New York City. She looks forward to exploring the city's diverse culinary scene, vintage shops, and vibrant neighborhoods like SoHo and Chelsea.

“I love the food here. [...] and I can't wait to do more of the vintage shops.”
—Claire Marie-Hall, 10:37

Closing Remarks

Lauren wraps up the interview by appreciating Claire's insights and contributions to "Operation Mincemeat." The conversation offers listeners a comprehensive look into the behind-the-scenes efforts that bring a Broadway musical to life, highlighting the dedication and passion of its cast members.

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This episode provides a rich and detailed exploration of "Operation Mincemeat," offering valuable insights for theater enthusiasts and those interested in the collaborative nature of Broadway productions. Through Claire Marie-Hall's experiences, listeners gain a deeper appreciation for the artistry and resilience required to stage a successful musical.

Transcript

[Nicole Byer]

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[Claire Marie Hall]

Every style, every home.

[Lauren Clash Schneider]

Hi, I'm Lauren Clash Schneider with Clash Notes for Broadway Radio. I'm here with Claire Marie hall, cast member in Operation Mincemeat playing at the John Golden Theatre. Welcome.

[Claire Marie Hall]

Thank you for having me.

[Lauren Clash Schneider]

Oh, well, we're thrilled that you've taken the time to be with us today. Mincemeat is equal parts farce, thriller and an Ian Fleming style spy caper. With an assist from Mr. Fleming himself. It's a new musical that tells wildly improbable and hilarious true story of the covert operation that turned the tide of World War II. You play Gene Leslie here in New York, having originated the role in its earliest productions. What were your impressions of the play the first time you read it? Or was there a play the first time you read it?

[Claire Marie Hall]

Do you know, I was thinking about it this morning. So I joined late 2019. There had been one run before me and it had been a tiny 80 seater theatre and it had sold out instantly. It was a five week run and I knew it had done really well. I'd heard about it on the Grapevine and so when the audition came up, I was like, I don't know what this is. It says multi rolling for this character called Jean. And it says that I got a rap and it's comedy. And I was like, I don't know what it is. I can't find any of the songs online. I'm going to go for it. And then I got there in my recall, I got given the songs and I was like, oh my God, this is great. And then I think I turned up on the first day and got the script, went home, literally powered through it and I was like, this is genius. And this was back in the day when it was kind of like it's been finessed over the years, but the initial product was just genius.

[Lauren Clash Schneider]

Mm. There are five individuals credit with writing the book, music and lyrics. So especially at the point that you came on in it, how did they operate? Like as a four headed monster.

[Claire Marie Hall]

So yeah, there's basically there's, there's Four people in total who wrote the book and the lyrics, one of which was RMD initially at the time, and he's not anymore. He kind of operates outside of the. Outside of the musical. And then three of the people are in the cast. And I mean, back when we started, we didn't have. We didn't have the luxury of a director. Felix was our md. So basically, like, we would do kind of, like, scenes and then one of spit Lip, one of the writers would go out the front and watch us and direct us, and then they would slot themselves in and then another person would go out and watch it. And so, yeah, I mean, that's how we operated back in the day before we got to where we are now.

[Lauren Clash Schneider]

And now the play is directed by Robert Hasty. How was it for a director. How was it for you as an actor to observe a director coming in to work with all of these extraordinary creatives?

[Claire Marie Hall]

Oh, it's been lovely. It's been so nice to. Yeah. Not have somebody, like, have to step out mid scene and be like, maybe we should check her visit. It's been lovely to have an outside kind of, like, look of eyes and also kind of, like, reassess characters, kind of come in from a different perspective, tighten everything up. Yeah, it's been a wonderful experience and Rob is a wonderful and very, very great director.

[Lauren Clash Schneider]

And it seems like it was a smooth transition.

[Claire Marie Hall]

Yes, it was. I mean, that's how it initially felt when Rob came on board. It was just lovely to have basically an outside pair of eyes to kind of like, maybe go, this bit maybe needs to be trimmed a bit. This bit needs to be looked at a bit more. This character maybe needs a bit more. Kind of like just looking at and tightening. Or we need some more characters or less characters. In the case of the musical, the five of us play, like, 87, or I want to say 80 something. So, yeah, it was kind of like, this character can go. This character needs expanding. Yeah, it was a great experience.

[Lauren Clash Schneider]

Throughout the rehearsal process. How did you all keep from laughing moment to moment and actually get the work done?

[Claire Marie Hall]

We still find that difficult. It takes up time. We still find it difficult in the show. Yeah, I think there's a very good work ethic amongst the five of us and amongst the company as a whole, where we do have a really good time. We've known each other for years now. I mean, the three writers in the cast have known each other since their university days and that's how they came to know one another. But as together as a five, we've been together for about five years now. And yeah, we do have a really fun time. But when it comes down to the work as well, we know exactly where to put the serious faces on.

[Lauren Clash Schneider]

I think based on when you started, I can't help but ask about what was going on for the group of you during the shutdown.

[Claire Marie Hall]

Do you know what? So during the shutdown, I'd done my one initial run with them. So they'd had two runs, the second of which I joined, and it was only a short run. It was 10 shows. And I'd come to love this show. And I was like, I want to be in this in the long term. And we had plans to go to Edinburgh Fringe. That was what was supposed to happen. And then obviously coronavirus happened and that never occurred. And it was kind of like we didn't know where the show was going to go next. We did a two day workshop because they changed the script a lot during lockdown and actually it really evolved into what it is necessarily today. We ended up having another run at Southwark Playhouse, so another London Fringe venue. Basically the same place that we'd just done that second run, but in one of their bigger spaces. So we'd gone from 100 player space to. I can't remember the size, but it was bigger than 100. And also out of Lockdown, there was a beautiful song that evolved called Useful, which I sing with a character called Hester, which basically it's about people behind the scenes of those receiving all the accolades and the medals, kind of realizing that they might not get those things, but they are just as useful. And it was kind of like it was born out of sort of the writers feeling that, you know, everyone at that time just wanted to be useful to a neighbor. They wanted to. The NHS wanted to be useful. They just wanted to kind of contribute to society, to get through and to feel like getting up in the day and getting forward.

[Lauren Clash Schneider]

It sounds like the type of song that will be taken out of context with great frequency.

[Claire Marie Hall]

Yes, it's a beautiful, beautiful number. And it was exactly what that dynamic, the character dynamic between Hester and my character, Jean. They were trying to find out how their arcs evolved and it was the number that basically completed it.

[Lauren Clash Schneider]

Lovely. I've read that the show has been tweaked slightly for audiences in the us and for you as an actor, what are the differences between a West End audience and a Broadway audience?

[Claire Marie Hall]

Do you know what, Wes? The American audiences are more vocal, which I didn't expect. I don't know why I think we have panto back at home. So I always assume that the Kind of good at calling out and stuff like that. But yet the American audiences are extremely vocal and they tell you kind of like when they're concerned about the character. There's. I won't give too much away, but there's a bit of a. Kind of like my character gets put down by another character during the show and you don't expect it. And it's horrible for Jean when that happens. And you can hear the audience kind of like actually vocalizing how wrong they feel as well, like how wrong they feel for Jean. And it's beautiful. Yeah. And yeah. People APPLAUSE People kind of shout out. The laughter is kind of prominent. It's lovely.

[Lauren Clash Schneider]

How great. Some things about you who have been performing professionally since you were 11, including playing Cosette in Les Mis in the West End. Yes, quite remarkable. And do you continue to take classes?

[Claire Marie Hall]

So here. Yes, we have the luxury of having singing lessons while we're here, which has been great. Back at home, I've been doing, like, singing and acting lessons. We get Pilates lessons here as well, which is lovely. So, yeah, I think you can always. As an artist, I think you can consistently be learning. I don't think there's ever an end goal for that. I miss the days of college when it was, you know, a consistent thing, but now I'm very much sort of like, I don't think you can ever stop progressing.

[Lauren Clash Schneider]

I'm glad you brought that up. I read that while you were studying for your A levels, which you'll have to tell us about, you were performing in high end corporate events.

[Claire Marie Hall]

Yes.

[Lauren Clash Schneider]

Strike that balance. And what were your transitions like going from, you know, Cosette at 11, to growing up, going to college, to working in corporate, to coming back to the theater you're doing now.

[Claire Marie Hall]

So I actually. So, because that was my first job when I was 21, so I played Adult Gazette. I was never lucky enough to play Young Gazette, but when I was younger, I did play Nagana in South Pacific with the National Theatre. Did a tour near me. So that was my first ever kind of young role. But then, yeah, growing up, I think I kind of like, worked professionally as a singer on the side because I loved it and my parents always thought it would just continue as a hobby. But, yeah, kind of negotiated doing that while I was studying. And I never. I always thought I would end up being a lawyer. I was kind of destined somewhat to go to, like, Oxford or Cambridge. I went to the interviews there and Then I think at 18, I got the guts to turn to my mum and be like, I think I want to be an actress. So, yeah, I kind of ended up going a completely different direction and how.

[Lauren Clash Schneider]

Great for us and the company and your time here. Last question. What are you enjoying about being in New York? I hope you're enjoying something.

[Claire Marie Hall]

I was about to say, there's actually too many things. It's hard to pin. Do you know what? I'm excited to actually find more things because we haven't had that much time with rehearsals in the daytimes, but now we're opened, I'm excited to explore more. I love the food here. The food here is great. I can't wait to. All the Asian food here is fantastic. A big Asian foodie. And every Asian restaurant I've gone to here has been insane. Also, I can't wait to do more of the vintage shops, so I can't wait to kind of go towards more of the area around there. I think I've been told to kind of go soho area and Chelsea area as well for shops. So, yeah, lots to do.

[Lauren Clash Schneider]

Yes. And hopefully you'll have some time to do it when you're not at theater. Claire, this has been wonderful. Thank you.

[Nicole Byer]

Thank you for having me.

[Lauren Clash Schneider]

I'm Lauren Clash Schneider with Claire Marie hall, cast member and Operation Mincemeat playing at the John Golden Theatre. Thank you.