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      The Rolling Stones Unveil a New Album, ‘Hackney Diamonds’

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      Mick Jagger, Keith Richards and Ronnie Wood provided details about their first record of new material in 18 years, which will be released on Oct. 20.When the Rolling Stones released “Beggars Banquet” in 1968, the band had an unusual way of grabbing attention: a surprise food fight.At the end of a feast with journalists in a posh London hotel, Mick Jagger celebrated the record, which includes “Sympathy for the Devil” and “Street Fighting Man,” by smashing a cream pie into the face of the guitarist Brian Jones. The event quickly descended from there, with band members and guests throwing food at one another, leaving faces drenched in cream.On Wednesday, Jagger, 80, Keith Richards, 79, and Ronnie Wood, 76 — the band’s three current members — promoted their new album, “Hackney Diamonds,” in somewhat more sedate fashion: with a livestream on YouTube hosted by Jimmy Fallon.Named after old British slang for the shards of glass that are left after a break-in, “Hackney Diamonds” will be released on Oct. 20.Richards, wearing a hat and shades, said that playing live is a “holy grail,” but that recording albums is “where the guys can get together and pass around ideas without any interference.”“When it works, it’s great,” he said.Jagger, wearing a patterned jacket, said he didn’t “want to be bigheaded, but we wouldn’t have put this album out if we hadn’t really liked it.” He then added that he hoped the group’s fans would love it too. “I’ll drink to that,” Wood said, raising a glass.After the 20-minute event ended, the band premiered the video for the album’s first single, “Angry,” featuring Sydney Sweeney. Jagger earlier said that the album had many tracks themed around anger and disgust.The lunchtime event was held at the Hackney Empire, an old theater in the trendy Hackney district of London. Fallon, sitting in front of a broken-up version of the band’s lips logo and near three smashed chandeliers, interviewed the group before an audience of journalists and invited guests, although questions were not allowed from the floor.The anticipated 12-track “Hackney Diamonds” is the group’s first album of original material since the release of “A Bigger Bang” in 2005, and its first since the drummer Charlie Watts died in 2021. Two of the tracks were recorded in 2019 with Watts, Jagger said, including “Live by the Sword,” which he described as “retro.”Richards said the band was obviously different without Watts. “He’s No. 4, he’s missing, he’s up there. Of course he’s missed incredibly.” He said that Watts had recommended the band’s new drummer, Steve Jordan, and that moving on “would have been a lot harder without Charlie’s blessing.”Jagger joked about the long delay before this album, saying that the band — known for its extensive tours — had been a bit “lazy,” and that the group needed a deadline. They forced themselves to hit the studio in December, he said. “We cut 23 tracks very quickly and finished them off in January, and mixed them in February.”Fans of the Stones, which formed in 1962 and went on to become one of rock’s most enduring acts, have been awaiting a new album since “Blue & Lonesome” in 2016, which featured a dozen blues covers. Jagger told The Los Angeles Times in October 2021 that “Hackney Diamonds” would have been finished long ago if not for the coronavirus pandemic.Last month, the Stones teased the album via an advertisement for a fake glass repair company, called Hackney Diamonds, that appeared in a London newspaper. The ad’s text referred to several of the band’s well-known songs: “Our friendly team promises you satisfaction. When you say gimme shelter we’ll fix your shattered windows.”In the interview with Fallon, the band said other album titles it considered were “Hit and Run” and “Smash and Grab.”Philip Norman, who wrote “The Stones,” a major biography of the group, said in an interview that the release event was far from the band’s raucous 1960s and ’70s image but still managed to give its members an air of being “tearaways” by being held in London’s trendiest district. That was “typical Stones’s fakery,” Norman said, because the band had no previous association with Hackney.Although the Stones have said “Hackney Diamonds” marks a “new era,” Norman said he was anticipating a classic Stones sound. “This is the Stones we know and some of us have loved for the past six decades,” he said.The livestream generated interest online (at points 53,000 people watched live), but there was less hype on Hackney’s streets on Wednesday. Before the unannounced event, a few dozen fans waited outside the theater to catch a glimpse of the band walking the red carpet.Sam Poullain, 42, a marketing director, said that two months after he watched a school play on the Empire’s stage, he was back to see “the original rock ’n’ roll band.”The enthusiasm was not unanimous. As the huddle to see the band grew, three schoolgirls walking past asked what was happening. Told it was the Rolling Stones, Anya Morrison, 16, said, “I’ve heard of them, I think.” Then she got on a bus home. 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      Have You Seen Paul McCartney’s Lost Bass Guitar? Tips Welcome.

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      For decades, mystery has surrounded the fate of the missing bass that accompanied the Beatles as they rocketed to fame. A new campaign is trying to find it. Before Beatlemania, there was the distinctive Höfner violin bass — the first guitar that Paul McCartney bought after becoming the bassist for the Beatles.That bass can be heard on some of the band’s most famous hits, including “Love Me Do,” “She Loves You,” and “Twist and Shout.”Mr. McCartney picked up the instrument in a Hamburg music store in 1961, and it accompanied the Fab Four as they rocketed to stunning success, becoming the most famous band in the world. But the guitar vanished eight years later.A new campaign is seeking to find the missing instrument, and hundreds of people have responded, hoping to help solve the decades-old mystery: Where is Paul McCartney’s missing bass guitar?“It’s a hugely significant instrument in its own right,” said Nick Wass, a semiretired consultant for Höfner, the guitar’s manufacturer, who has joined forces with two journalists to try and track the guitar down. “It’s the bass that made the Beatles.”“The bass was absolutely at the heart of the origins of the Beatles sound,” said one of the journalists, Scott Jones, who worked for the BBC. “The smallest pieces of information can often lead to the biggest breakthroughs,” he said of their appeal for tips on its fate.Mr. Jones’s wife, Naomi, is the other journalist behind what they are calling The Lost Bass Project.The three Beatles fans have urged members of the public to come forward with any information that might help. No tip is too small, they say, and they are promising to keep sources confidential. They say they have already received several credible leads since the project was launched on Saturday.The instrument’s treasured place in Beatles mythology is intertwined with the band’s story. After the departure of their original bassist, Stuart Sutcliffe, Mr. McCartney, who had been playing guitar, switched instruments to replace him during a residency in Hamburg in 1961. For that, he needed a new bass guitar.“I got my Violin Bass at the Steinway shop in the town center. I remember going along and there was this bass which was quite cheap,” he said in a 1993 interview with Guitar Magazine, adding that he had not wanted to go into debt and could only afford the Höfner, 500/1 guitar at the time. It cost about £30 pounds, or $38, he recalled. “And once I bought it, I fell in love with it.”Paul McCartney performing in 2017.Kamil Krzaczynski/Agence France-Presse — Getty ImagesMr. McCartney took the guitar back to Britain, where it accompanied the Beatles through hundreds of gigs — from the band’s early concerts at the Cavern Club in Liverpool, where they were spotted by Brian Epstein, who would become their manager, to the recording of their first two albums. It was repaired in 1964, according to the team behind the new search, and then used along with other bass guitars.But the last confirmed sighting of the instrument was in London in 1969, in video footage of the band members writing their final album, “Let It Be.” Rumors have percolated ever since about what happened to the instrument: The Lost Bass Project suggests that it could have been stolen or lost either from the basement of Abbey Road Studios, or from the Apple Corps recording studio on Savile Row.A representative for Paul McCartney declined a request for an interview. But Mr. Wass said he understood, from previous communications with Mr. McCartney, that he was keen to be reunited with the instrument. “He calls it the ancient one,” Mr. Wass said.Among the leads they had received, Mr. Jones said, were suggestions that the instrument could have traveled to the United States or Japan. But he added that all the leads need to be vetted. “Somewhere among that information there is going to be the answer,” he said.Other iconic instruments have been lost and found over the years — one close example being a Gibson acoustic guitar belonging to John Lennon, which was bought in 1962 and then lost the following year. Half a century later, it re-emerged and was sold at auction in 2015 to an anonymous buyer for $2.4 million.It is unclear what the market value of Mr. McCartney’s missing guitar would be, but the team behind the search insists that the effort is not for monetary gain, calling the guitar “priceless.”“We just want to know where it is,” said Mr. Wass. More

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      in Theater

      Review: ‘Next to Normal’ Is Back, With Extra Pathos

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      A London revival of the hit musical brings extra warmth to the story of a woman in psychological free fall.A mind in torment is making for some terrific theater at the moment in London, where the Pulitzer Prize-winning musical “Next to Normal” is belatedly having its British debut 14 years after it opened to acclaim on Broadway. The local premiere at the intimate but important Donmar Warehouse runs through Oct. 7, and this engagement looks unlikely to be its last.In between its Broadway run and now, the show has been seen in an immersive production in Barcelona and its composer, Tom Kitt, has written a handful of other Broadway musicals.But as staged afresh in London under the astute eye of the director Michael Longhurst, “Next to Normal,” a portrait of a woman in psychic turmoil, has a renewed sting.Longhurst is soon to depart his post as artistic director of the Donmar (Timothy Sheader takes over the job next year) so is easing his way out on a high. In casting “Next to Normal,” he has plucked a supporting performer, Caissie Levy, from his lauded 2021 Broadway revival of “Caroline, or Change” to inherit from the Tony winner Alice Ripley the demanding lead role of Diana Goodman, a bipolar wife and mother whom we witness in accelerating degrees of distress. The result is transformative: Whereas the show I recall in New York (with a different cast) was commanding but chilly, this version owes its extra pathos to Levy’s innate warmth: You feel for Diana at every step, even as you fear where her wayward emotions may lead her next.Jamie Parker as Dan and Caissie Levy as Diana. Marc BrennerA Broadway alumna of “Hair” and “Frozen,” Levy from the start pulls you into her character’s increasing confusion. We see at the outset the difficulty Diana faces in simply making sandwiches, the bread laid out before her as if as if this routine domestic task were an unusual challenge.From there, the musical darkens to embrace shock therapy, attempted suicide and multiple hallucinations, the specifics of which are best left unrevealed. Some may chafe at the cumulative effect of a through-sung musical that lets neither its characters nor its audience off the hook; we witness Diana’s reluctant surrender to electroconvulsive therapy, followed by memory loss that further amplifies her trauma.Some may flinch at the unyielding nature of the despair that unfolds, but those attuned to its candor may emerge from the show with clarity: It’s no surprise that the final song is entitled “Light.” This musical opts not for fake sentimental uplift, but for the courage that comes from facing down mental illness, acknowledging human frailty and somehow finding a way to carry on.Several references move the world of the show on from a decade ago. Mentions of X, formerly known as Twitter, and climate change suggest the present day, and Chloe Lamford’s sliding, bleakly antiseptic set — representing both home and hospital — exists in colorless contrast to the blood that gets spilled upon it. (The London-based American performer Trevor Dion Nicholas ably doubles as the two doctors struggling to diagnose Diana’s condition.)Trevor Dion Nicholas doubles as two doctors struggling to find a diagnosis for Diana’s condition.Marc BrennerLevy steers the production, her voice softening on the plaintive solo “I Miss the Mountains” before acquiring the necessary steeliness for “You Don’t Know,” Diana’s furious duet with her husband, Dan. In that role, Jamie Parker, a onetime Harry Potter on the London and Broadway stage, communicates the anguish that comes from watching a loved one slip away: The sight of him, late on, curled up in despair in the family kitchen, is among the show’s most rending.As the couple’s musician daughter, Natalie, Eleanor Worthington-Cox brings some serious pipes to the part of a teenager determined not to follow in her mother’s fraught emotional path. Jack Ofrecio is properly sympathetic as her boyfriend, a good-natured stoner who attempts to keep Natalie from her own psychological free fall.And the production boasts a genuine breakout star in the fresh-faced Jack Wolfe, who seizes the role of the antic son, Gabe, and brings a darting sense of danger whenever he appears on the two-tiered stage. (The music director Nick Barstow’s expert band is positioned above the action, obscured now and again by screens that suggest a clouded mind.)In superb voice, Wolfe has an electrifying talent that more than matches Levy’s own, and when he rocks out on the character’s solo number “I’m Alive” — Gabe’s searing anthem of self-assertion — it feels as if there’s no more vital theatrical place to be.Next to NormalThrough Oct. 7 at the Donmar Warehouse, in London; donmarwarehouse.com. More

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      in Movies

      At This Movie, Their Phones Won’t Bother You. Their Barking Might.

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      A cinema chain in Britain is welcoming dogs to select screenings. They don’t need their own tickets, and they don’t need to turn off their cellphones.Kab, a 2-year-old Doberman wearing a blue bandanna, is noticeably anxious.Sometimes called “cupcake,” he is roughly the size and weight of a teenage boy and has the energy to match. At the moment, he is being led around the courtyard of a cinema in East London by one of his owners, Luisa Fulcher, to walk off his jitters and allow for one last bathroom break before he and a handful of other dogs settle in for something unusual: their first moviegoing experience.Last weekend, Curzon Cinemas, a chain with 16 locations in Britain, began allowing dogs to attend select movie screenings with their owners, starting with “Strays,” an expletive-laden, live-action comedy that follows a group of dogs (voiced by actors including Will Ferrell and Jamie Foxx) that unite to seek revenge on an owner.Luisa Fulcher, center, and her dog Kab were among the attendees at Saturday’s screening. “Nowadays pets are part of the family,” she said.Mary Turner for The New York TimesLondon is a paradise for pooches, which are regularly found at the feet of their owners at restaurants, pubs, on trains and in many other public places. Movie theaters may be next to welcome dogs, thanks in part to the pandemic.In Britain, which has a population of about 67 million people, there are an estimated 11 million pet dogs, according to a report this year by the People’s Dispensary for Sick Animals, a veterinary charity. Pet ownership surged during the pandemic, and now that workers are being encouraged to return to the office, some pets and their owners are struggling with the transition.“A lot of people got dogs during the pandemic, and they want to come and see a film with their dog,” said Jake Garriock, the head of publicity at Curzon. He said the new screenings were part of a larger program designed to let customers watch films in ways that best suit them, such as screenings for infants that feature reduced volume and increased lighting.For now, Curzon is allowing dogs of any breed at only one screening a week, at only one of the chain’s London locations, said Mr. Garriock. (And no, separate tickets are not required for dogs.) They’re not allowed on the seats, and their owners must clean up any accidents.Curzon is not alone in welcoming dogs. Picturehouse Cinemas, another British chain, has offered pup-friendly screenings since 2015, and there are numerous independent movie theaters in Britain that do so. (Most cinemas, however, allow only service dogs.)Back outside the theater, Ms. Fulcher said she had brought a bone for Kab, who was now whimpering for attention and playfully jumping on this reporter.Rebecca Minty and her dog, Lottie, also attended the screening.Mary Turner for The New York Times“I think that it’s a great idea because nowadays pets are part of the family,” she said of the theater’s new screenings. “They are not just pets anymore. It’s like your little baby.”For other dog owners, the screenings provide a new freedom. Ziad Dajani said he and his partner had not been to the movies together in four years because of Tarçin, their 8-year-old Australian Labradoodle, who suffers from separation anxiety. “We’re his hostages, basically,” Mr. Dajani said. “So we can’t leave him alone for a minute. Someone has to be with him all the time.”Standing in line to purchase snacks for the screening were a few other dog owners, including Rebecca Minty and her daughter. With them was Lottie, who was lying on the floor and not particularly bothered by anything or anyone. Ms. Minty said Lottie, a 7-year-old working cocker spaniel who does not work, was taken on a long run before coming to the theater in an effort to keep her calm.Inside, the screening was like any other, except for the rustling of collars and the occasional bark. The movie’s sound level was also dialed back.“It’s vital that cinemas reduce the sound at dog-friendly screenings, otherwise the volume could cause them distress and even pain,” Dr. Katherine Polak, a veterinarian and a vice president at Humane Society International, said in a statement. “In principle, it’s similar to cinemas that offer baby-friendly screenings that also reduce sound and accept that some level of disruption is likely.”Paget Fulcher, Kab’s other owner, said after the screening that Kab had behaved well despite the challenges. “Most of the time, he was laying down on the ground, playing with a toy that we brought for him,” he said. “It was all good. Nothing bad happened. I think we’re very happy with how it went.”A dog’s behavior at home offers clues as to how the animal might handle a movie screening, according to Graeme Hall, a British dog trainer known as “The Dogfather” who hosts the Netflix show “Dogs Behaving (Very) Badly.”“Some dogs seem to like watching the television, and some dogs don’t notice,” said Mr. Hall, who advised monitoring a dog for signs of stress, including making sounds, yawning, licking their lips and pinning back their ears.Mr. Spandley and his dog Jeff leaving the cinema (for which Jeff did not need a ticket).Mary Turner for The New York TimesHe also said dogs take their cues from their owners. “We know for a fact that dogs are constantly looking at our facial expressions and body language, the little sounds we make, even our breathing patterns,” he said. “If you’re having a good time, there’s a very good chance that your dog will pick up on that.”Mr. Garriock acknowledged that not everyone might enjoy going to a movie with dogs in the audience.“Obviously, there’s plenty of screenings where they won’t be interrupted by dogs,” he said. “If you like cats, then you can head to one of the other screenings.” More

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      in Theater

      Lily Allen’s Second Act

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      Lily Allen didn’t know why she agreed to be interviewed for this article.On a recent morning, sitting outside a London cafe, the British singer said she had paused earlier for a moment of reflection. “I was like, ‘Why am I doing this?’” she said. “I sort of wonder why I put myself in these situations, and open myself up to criticism.”Allen, 38, hypothesized that the answer might be narcissism, or her resignation to the requirements of being in the public eye. “It’s been my life since I was like 18 years old,” she said.Since Allen burst onto the pop music scene in the mid-00s with lilting reggae-infused tracks like “Smile,” her relationship with the press has been fraught. She has always been outspoken — in her lyrics, in interviews and on social media — and for many years, she was a fixture in Britain’s tabloid newspapers. In 2009, she obtained a court order to stop paparazzi following her around London.“It’s not a very nice feeling,” she said of that kind of attention. “Especially when you’re in your early 20s, and you’re still trying to figure out who you are in the world.”Now, Allen lives in New York, where she largely goes unrecognized. She was back in London because she has also left music behind — at least for now — and turned her attention to acting, instead.Allen is currently playing a lead role in a West End revival of “The Pillowman,” the 2003 play by the “Banshees of Inisherin” writer and director Martin McDonagh, which runs at The Duke of York’s Theater through Sept. 2.“I still get to play with the human experience,” she said of this career transition, “but I don’t have to put my heart on my sleeve as much” as in her — often very personal — songs.Paul Kaye and Lily Allen in “The Pillowman,” at Duke of York’s Theater in London.Johan PerssonAllen’s mother is a film producer and her father an actor, but as a teenager she was drawn to music. When she was 19, in 2005, she signed to the Regal/Parlaphone label and built a following on the then-nascent social media site MySpace. According to Michael Cragg, who recently wrote a book on British pop music, the music scene at the time “was kind of mired in ‘The X Factor’ and TV talent shows.” The consensus, he added, “was that pop needed a bit of a kick up the bum.”Clad in prom-style dresses, chunky gold jewelry and sneakers, Allen was a new kind of British pop star. With a London accent, she sang her own funny and provocative lyrics about messy relationships, sex and self-loathing. “A young woman singing and presenting themselves in that way felt very exciting,” Cragg said.Her first two albums — “Alright, Still” and “It’s Not Me, It’s You” — were commercial and critical successes, but the making and marketing of a third, “Sheezus,” in 2014, was more fraught: In interviews, she has described having an “identity crisis” at the time, as she tried to be both a pop star and a new mom.In 2018, Allen’s next release, “No Shame” — a low-key record that addressed her divorce and feelings of isolation — was nominated for the Mercury Prize, but Allen has since become disillusioned with the music industry, she said. “It’s so competitive, it’s so rooted in money and success and digital figures,” she added. “I’m just not interested in doing any of that.”Allen performing in London in 2007. Her prom-style dresses and strong London accent made her stand out among the pop stars at the time.Suzan Moore/Press Association, via ReutersAt around the same time, she also changed her relationship to alcohol and drugs. “From 18 to about four or five years ago just feels like a bit of a haze, because I was literally just off my face the whole time,” Allen said. “I was using fame as well — that was an addiction in itself: the attention and the paparazzi and the chaos.”Allen’s “four year sober birthday” fell on the date of this interview, she said, and it seemed that chaos had abated. Three years ago, she married the “Stranger Things” actor David Harbour, 48. Her life in New York with him and her two daughters from her previous marriage was “pretty leisurely,” she said.So when she was approached about an acting role in the West End show “2:22 A Ghost Story,” she “was like, ‘No, I don’t act and I live in New York, so no thanks,’” she said. But Harbour convinced her to take the gig, and it earned her a nomination in the Olivier Awards, Britain’s equivalent to the Tony’s.In “The Pillowman,” Allen plays Katurian, a writer living in a totalitarian state, who is questioned about a string of child murders that remind the authorities of her fictional stories. Like much of McDonagh’s work, it’s as dark as it is comic.Allen said she saw a through line between McDonagh’s “dark and sick humor” and the lyrics of the songs she used to write. In rehearsals, she added, “I would say things that people might ordinarily be shocked by, and you look at Martin, and he’d be smiling.”“I still get to play with the human experience,” Allen said of her career transition to acting, “but I don’t have to put my heart on my sleeve as much.”Ellie Smith for The New York TimesAllen’s turn as Katurian is the first time the role has been played by a woman, and her casting gives Katurian’s interrogation scenes, in which she is verbally and physically abused by two detectives, a different weight.“The play really is about patriarchal brutality,” said Matthew Dunster, the production’s director. “I said to Martin, ‘This is going to be really difficult for audiences to take, this slight woman being treated to brutally so early on in the piece,’ and Martin said, ‘Isn’t that the point?’”Dunster also directed Allen in “2:22 A Ghost Story,” and he said he had seen her grow as an actor. “What was thrilling to me was to see her taking ownership of her own process,” he said.When “The Pillowman” ends, Allen intends to return to New York. Her priority would be settling her two daughters into middle school, she said, but she had also applied for acting courses.One day, she said, she hoped to land lead roles in films and television. But, for now, she added, she was leaving herself open “to any opportunities that come my way.” More

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      in Theater

      In ‘Operation Mincemeat,’ the Theater of War Is a Comedy

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      How a theater collective transformed the too-weird-to-be-true story of a World War II counterintelligence scheme into a West End musical with heart.The inflatable tanks had to go.At one time, those tanks were a feature of “Operation Mincemeat,” a punchy, plucky, highly unlikely West End musical, which tells the even more unlikely story of an MI-5 escapade. It describes how, in 1942, British Intelligence outfitted an unclaimed corpse as a member of the Royal Marines and delivered the body to the shores of Spain, trusting that German sympathizers would study faked documents planted on the body. It worked. That was hardly the craziest part.“Part of the joy was that the crazy stuff was all true,” said Natasha Hodgson, a member of the theater collective SplitLip, which created the show.But there was so very much crazy stuff. And during early performances, the audience had doubts. They especially doubted the dummy Sherman tanks, which the Allies created to misdirect the Germans. So the tanks were cut. As were other details.“We had to take the truth out because it was too silly,” the composer Felix Hagan, another member of SplitLip said.This was on a recent morning in London. The show’s four creators — Hagan, Hodgson, David Cumming and Zoë Roberts — had gathered in the lobby bar of the Fortune Theater to discuss, excitedly, how a glam punk musician and three writer-performers previously known for bloodpack-heavy horror comedies had created the feel-good West End musical of the summer.The musical’s dozens of roles — secretaries, sailors, spies — are played by just five performers, including Roberts, Cumming and Hodgson.Matt CrockettCumming, Hodgson and Roberts met more than a decade ago, at the University of Warwick, bonding over a shared love of horror movies. With two other classmates, they created the devised company Kill the Beast, which specialized in unusually gruesome comedy, sometimes involving werewolves.The company had several successes at the Edinburgh Festival Fringe. “But it was quite clear that we were going to stay niche,” Cumming said. Shows about tentacled beasts and children devoured by rats were never built for the mainstream.Music had always been an integral component of Kill the Beast shows, which made a full-scale musical an almost logical next step. As Hodgson and Hagan were in a band together, inviting him on as a composer made sense, too. With his addition, SplitLip was formed. What was missing? A story. Which Hodgson found on a family holiday when her brother encouraged her to listen to an episode of a podcast detailing the events of Operation Mincemeat.“I was just like, oh my God, this is the craziest, most amazing, hilarious, horrifying story I’ve ever heard,” Hodgson said. In other words: Perfect. She told her colleagues that they were going to have to write a musical about World War II. No tentacles necessary.There was brief dissension. (Cumming described a World War II story as “the least cool thing you can do.”) But on learning the details, everyone was persuaded. Because, as a character in the musical would later say of the Mincemeat plan, “It’s bizarre, it’s disgusting, it’s borderline psychopathic.”On the strength of a scene and two songs, the show was booked into a five-week run at London’s New Diorama Theater. Which gave the company a hectic and unglamorous nine months to write it. Some of that writing was done in an unheated studio space. The collaborators would take turns riding an exercise bike, just to keep warm.There were several discussions about musical style. Hagan had considered restricting himself to period forms, then rejected that restriction. The resulting score is eclectic, moving among pop, R&B, stride piano. The song that closes the first act transitions between sea chantey and electronic dance music, the EDM a play on a submarine’s pinging sonar.“We needed to make sure it didn’t feel old,” Cumming said.Cumming, Hodgson and Roberts knew that they would star, for financial reasons as much as creative ones. They auditioned for two more singers, a high tenor and a high soprano, then began to divvy up the dozens of roles — secretaries, sailors, a Russian spy, Ian Fleming — among the five performers, with men often playing women’s roles and women playing men’s, without camp or fanfare.“It’s a quietly queer show,” Cumming said. That queerness helped to complicate the story, chafing against its wealthy white male triumphalism by showing who was and wasn’t allowed to make decisions, who was and wasn’t given credit.In writing the script, they agreed to never change the story’s facts, even as they allowed themselves a playful approach to the characters. Yet the facts were often incredible. After an invited dress rehearsal, SplitLip read through feedback forms, some of which scolded the company for lying about history. (“The dads,” Roberts said, “can be very defensive about the war.”)They hadn’t lied, but they had jettisoned the tanks and other particulars: MI-5 employees cosplaying the fake marine, a near car crash on the way to the submarine, courtesy of a blind driver.Still, the show that debuted at the 80-seat New Diorama was a shambolic one (one song lasted about 25 minutes), with an unwieldy second act rewritten just days before opening. The company didn’t really know what they had.“I liken it to getting dressed in the road,” Hodgson said. “Our first performance just felt nude. Like, ‘Is this good?’”The audience thought so. Producers agreed. There were conversations about where the show might go from there.“That’s the first time anyone’s ever said that. Usually, they’re just like, Cool, what’s next?” Cumming said.“Funnily enough, at our werewolf comedy, tears did not flow,” Roberts said. “We were still taken aback by how passionately people cared about these characters and felt for them.”Ellie Smith for The New York TimesThe show transferred to other London venues, Southwark Playhouse and Riverside Studios. A half-hour was cut. (It now runs just over two hours.) That 25-minute song was drastically shortened. At the New Diorama, the show’s creators discovered that audiences connected with the story’s emotional beats and that they wanted more of them. This was a surprise.“Funnily enough, at our werewolf comedy, tears did not flow,” Roberts said. “We were still taken aback by how passionately people cared about these characters and felt for them.” Initially “Operation Mincemeat” had leaned away from emotional moments, undercutting them with jokes. Increasingly, the show leaned in.For the West End transfer, a director and a choreographer were hired. A “glitzy finale” was added. A larger cast was mooted, even a chorus, but the creators realized that the frenetic, quick-change, make-do-ness of the show was much of its appeal and a kind of slant rhyme with history. Then, a small group of officers had effected a piece of theater that made the Germans divert 100,000 troops. Now, a small troupe could transport hundreds of audience members into a new world every night.“The Operation Mincemeat story is about giving just enough evidence to the Nazis to make them believe something that isn’t actually there,” Cumming said. “That’s exactly the same game that we’re playing. Just five people onstage giving you enough clues here and there.”The reviews for the show have been ecstatic. And despite some characteristic British modesty, the creators think they understand why. Even as the show, through its casting and satire, is unsympathetic to the conservative structures of British intelligence, it is ultimately admiring of the very English ingenuity and eccentricity of the people, almost exclusively straight white men, who birthed and accomplished the plan.“We want to celebrate the things that they did while being incredibly aware that the opportunities that were given to do all this were because of a system that allowed them, and no one else, to have those opportunities,” Hodgson said.It’s a tricky balancing act, this patriotism and this skepticism. But a company of five that constantly swaps hats and jackets is accustomed to acrobatics. Sometimes those hats get dropped. (“Everything has gone wrong every possible which way,” Hodgson said. “There’s nothing that can really throw us.”) But the overwhelming impression is of hopefulness, expansiveness, possibility and joy.“Joy has always been our principle in everything,” Roberts said. “The darker the world gets, people need joy.” More

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      Sinead O’Connor’s Death Is Not Suspicious, Police Say

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      The London police force said that the Irish singer was found dead at a home in the city.Sinead O’Connor was found dead in a private home in London, the city’s police said on Thursday, a day after the provocative Irish singer’s death was announced. While few details have been released about the death, the police said that it was not being treated as suspicious.Ms. O’Connor, best known for her rendition of Prince’s “Nothing Compares 2 U,” was 56.Her family confirmed Ms. O’Connor’s death in a short statement. “It is with great sadness that we announce the passing of our beloved Sinead,” the statement said. “Her family and friends are devastated and have requested privacy at this very difficult time.”Ms. O’Connor recently moved to London, according to local news media outlets. On Thursday afternoon, the city’s police force said in a statement that officers pronounced Ms. O’Connor dead at the scene at a residential address in southeast London. “A file will be prepared for the coroner,” the statement added.The local coroner’s court said in a news release that an autopsy would be undertaken, the results of which “may not available for several weeks.” Then a coroner would decide whether to hold an inquest into the cause of death, the news release added.Ms. O’Connor released 10 studio albums, including her 1990 breakthrough, “I Do Not Want What I Haven’t Got.” Although her music cut through on both sides of the Atlantic, she was also known for stirring public controversy. In 1992, she ended an appearance on “Saturday Night Live” by ripping a photo of Paul John Paul II into pieces to protest sexual abuse in the Roman Catholic Church. More

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      Kevin Spacey Is Acquitted of Sexual Assault Charges

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      A British jury on Wednesday found the actor not guilty of nine charges.A jury in London deliberated for more than 12 hours, and ultimately cleared the actor of nine charges.Susannah Ireland/ReutersKevin Spacey, the two-time Oscar-winning actor known for his movie and TV roles including “House of Cards,” was on Wednesday found not guilty by a jury in Britain of nine counts of sexual assault.Almost six years after allegations of inappropriate behavior began to emerge against Mr. Spacey on both sides of the Atlantic, a jury at Southwark Crown Court in London took just over 12 hours to reach its decision.As the verdicts were announced, Mr. Spacey, 64, stood in a transparent box in the middle of the courtroom, wearing a dark blue suit and looking unemotional as he faced the jury.But when the final “not guilty” was read out, the actor, whose birthday falls on Wednesday, began to cry and sighed heavily with relief.Shortly after the verdict, Mr. Spacey walked out of the courthouse — shaking the hands of several jurors on the way and kissing two security guards on the cheek — and gave a brief statement to a throng of waiting reporters.“I imagine that many of you can understand that there’s a lot for me to process,” he said. “I’m enormously grateful to the jury for having taken the time to examine all of the evidence.”“I am humbled by the outcome,” he added, before getting into a taxi.During the almost monthlong trial in London, the court heard from four men who said that Mr. Spacey assaulted them between 2001 and 2013. For most of that time, the actor was the artistic director of the Old Vic theater, a major London playhouse.One complainant told the British police that Mr. Spacey touched him multiple times without his consent. The complainant described incidents included once in either 2004 or 2005 when he said the actor grabbed his genitals so hard that he almost veered off the road as they were heading to Elton John’s White Tie and Tiara Ball.During the trial, Mr. Spacey — who appeared under his full name, Kevin Spacey Fowler — said that the pair had a consensual “naughty relationship.” The actor added that he felt “crushed” by the complainant’s characterization of their encounters. Elton John, giving evidence for Mr. Spacey’s defense, said that Mr. Spacey only attended his ball once, in 2001, several years before the complainant said he was groped.Another complainant said that he wrote to Mr. Spacey hoping that the actor would mentor him, and eventually went for a drink at Mr. Spacey’s London home. That complainant said that he fell asleep in the apartment, and later woke up to discover Mr. Spacey on his knees, performing oral sex on him. Mr. Spacey said during the trial that the pair had consensual oral sex, then the man “hurriedly left,” as if he regretted the encounter.On July 20, Patrick Gibbs, Mr. Spacey’s legal representative, claimed that three of the complainants were lying and only made their accusations in the hope of financial gain. Mr. Spacey’s promiscuous lifestyle made him “quite an easy target” for false allegations, Mr. Gibbs added.The trial in London was the latest that Mr. Spacey has successfully defended. In 2022, a federal jury in Manhattan found Mr. Spacey not liable for battery after the actor Anthony Rapp filed a lawsuit accusing Mr. Spacey of climbing on top of him and making a sexual advance in 1986, when Mr. Rapp was 14.But what Wednesday’s verdict will mean for Mr. Spacey’s career was not immediately clear. In June, Mr. Spacey said in an interview with Zeit Magazin, a German magazine, that he intended to return to acting after the trial. “I know that there are people right now who are ready to hire me the moment I am cleared of these charges,” he said. More