Filipino-British actor Claire-Marie Hall on ‘Operation Mincemeat’ and the joy of performing

From Hall's original cast and back again, each phase has contributed layers to the character. “You incorporate what you’ve done originally, what you’ve learned from a different cast, and kind of make Jean Leslie into this Broadway version.”

Portraying multiple roles in a five-hander musical comes with unique challenges. The cast navigates rapid shifts in tone and character, often with only seconds to switch. “It can literally just be changing a hat and changing an accent,” Hall explains. What once felt like chaos is now second nature. “Five years later, it’s so easy and so quick. People always remark on it—it’s almost magical.”

That precision and speed give the show its distinct energy. “The show lives on a knife’s edge,” Hall describes. “Accomplishing that every night still gives you a sense of achievement.”

The show’s tone is irreverent, even as it explores high-stakes events from the Second World War. This equilibrium is part of its power. “[Schools in the UK] often don’t learn this part of the war,” she notes. The story behind the deception at the heart of Operation Mincemeat was unfamiliar to her before joining the production. 

Research into her character extended beyond scripts and rehearsals. Leslie was a real person, and her descendants met the cast during the West End run. “We’re portraying real-life people, most of which we’ve now met members of their families. So we try to carry that sense of respect.”

She recalls a description of Leslie in a book by Ben Macintyre: “An enthusiastic woman. You could always hear her heels clapping down the hill because she ran everywhere.” That vivid image stayed with her and helped shape her portrayal from day one.

See also: Repertory Philippines brings Yasmina Reza’s acclaimed comedy play to the stage, offering insights into art’s true value

One of the show’s standout moments is a duet called Useful, performed with fellow cast member Jak Malone, who later won the 2025 Tony Award for Best Performance by a Featured Actor in a Musical. “It had come from COVID times, when people felt they couldn’t do anything, and all you wanted to be was useful.” The song—written with that spirit—became a thematic anchor, touching on the often-overlooked roles of women during the war.

“There were limitations on how much you could contribute, how much you’d be remembered… especially compared to the men who would be getting the medals.” For her, the message is simple but powerful: “Everyone is useful, however small you feel your contribution.”

That sentiment extends to the very mission at the centre of the musical. “The body they used—Glyndwyr Michael—no one knew his name for ages. But without him, the mission wouldn’t have succeeded.”

The show’s Broadway debut marked a major milestone. “We were having the time of our lives,” she says of their performance at the Tony Awards. Having done the same number at the Olivier Awards gave the cast confidence. “We weren’t nervous—we were just going to have a good time. And I think that really comes across.”

Performing for the American Broadway audiences has added another layer to the experience. “There’s a lot more gasps, responses, spontaneous applause,” she notes. “It really helps. We kind of like to think of the audience as the sixth member of the cast.”

That response has been particularly evident in moments where the show unexpectedly taps into modern political resonance. “There’s a line near the end that sometimes gets a round of applause. One out of three shows, it happens.”

For her, the Broadway stage has also become a point of cultural pride. A half-Filipino and half-British performer, she’s found community and inspiration among the rising number of Filipino talents on Broadway, from the likes of Darren Criss to Eva Noblezada. “The Filipino community here has been so accepting,” she says. Seeing childhood heroes like Lea Salonga in the same room is still surreal. “I’ve met her on a few occasions now and she’s having a normal conversation with me.”

After years of singing, dancing, and shape-shifting on stage, she’s excited to continue exploring. “I never thought I could do comedy at the beginning of this show,” she says. “Now I’ve discovered it’s one of my strengths.”

As for what’s next after Operation Mincemeat, Hall is eager to take on a wide range of roles from contemporary comedies to classic musicals. “I want to do as much as possible in my career. I hope I get to do a splatter of different jobs, all completely different from one another.”

The heart of her passion remains simple. “Theatre can change someone’s mood entirely. What a privilege, to give that to an audience and to do something I love.”

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