Student Life
‘Comedy is very deceptive’: Seán Carey on ‘Operation Mincemeat’
As a history student, you occasionally come across stories so strange they feel almost fictional. Operation Mincemeat is one of them. In 1943, British intelligence attempted to deceive Nazi Germany about the Allied invasion of southern Europe by planting false documents on a corpse dressed as a Royal Marine officer, letting the body wash ashore in Spain, and hoping the Germans would take the bait. Against all reasonable expectations, the plan worked. 80 years later, the story has found a second life on stage – though perhaps not in a form its architects might have anticipated. The musical Operation Mincemeat, currently touring the UK, turns the entire plan into what actor Seán Carey cheerfully describes as “a five-hander gender swap show about tricking the Nazis with a dead body”.
Carey plays Charles Cholmondeley, the MI5 officer who helped devise the plan. Like the rest of the cast, however, he spends much of the show darting between a multitude of other roles, switching accents, costumes, and personalities in seconds. Just five actors play a total of characters that lingers somewhere around the 85 count, turning one of Britain’s most elaborate deception operations into something resembling theatrical controlled chaos. Yet, behind the rapid-fire comedy lies a story rooted firmly in the lives of real people. When I ask whether playing a historical figure carries a particular sense of responsibility, his answer is immediate: “Yes, 100%. 100%.”
When Carey met members of the Cholmondeley family, seeing the premise of the show written down initially made them wary. “They were quite kind of nervous to see it”, Carey explains. “When they see on paper, oh, it’s a comedy about this kind of subject, there’s this worry that there might be maybe a mean-spiritedness.” What reassured them, Carey thinks, was the show’s tone. Operation Mincemeat embraces the absurdity of its story, but never entirely forgets the human reality behind it. “The beautiful thing about this show is that it’s very, very funny and very, very silly”, he says, “but it also treats the subject matter with a lot of respect”.
In some ways, the real operation already contains the strange mixture of humour and darkness that the musical leans to. For Carey, the sheer implausibility of the story is what makes it theatrically irresistible. “It was a really crazy plan”, he says. “It’s so much stranger than fiction that there are elements that were really, really funny and really silly and really macabre.” In fact, some of the most extraordinary details never even made it into the show. When researching the operation, Carey discovered that an American pilot who crash-landed around the time the body was discovered (the subject of the song ‘The Ballad of Willie Watkins’ in the musical) was actually asked to attend the autopsy and identify the corpse. Moments like that, he explains, were omitted simply because they were so outrageous audiences might not believe them. The real story, it seems, stretched credibility ever further than musical theatre.
Researching Cholmondeley himself, however, proved more difficult than researching the operation as a whole. “It’s very hard to research someone who was part of MI5”, Carey explains. “There’s very little about him.” Intelligence officers do not tend to leave extensive personal archives and as such, much of Cholmondeley’s life remains frustratingly obscure. One fragment, shared by his daughter, has stayed with Carey in particular: “One of the kind of lovelier things that his daughter shared with me is that he loved Tom and Jerry.”
It is an oddly fitting fact for a show that, as Carey admits, occasionally veers into something resembling cartoonishness. Carey describes the structure of the show as a kind of narrative misdirection – not unlike the deception operation itself. “You might think it’s this screwball kind of madcap comedy”, he says, “and then before you know it you find yourself crying at certain moments”. The emotional pivot works precisely because the humour lowers the audience’s guard. “Comedy is very deceptive”, Carey reflects. “It can catch you off guard, and once your guard is down it can really get through to you in a way that other mediums can’t.”
The story itself lends weight to that shift in tone. Operation Mincemeat was not simply the work of a few brilliant intelligence officers; it relied on an entire network of people across wartime Britain and the musical makes a point of acknowledging that diversity. There were, as Carey puts it, “these Etonian kind of well-to-do people who worked at MI5” – the archetypal figures of Britain’s wartime establishment. A figure that Cholmondeley himself was, as an ex-Oxford student. But there were also “people who worked in the typing pool”, clerks and administrators whose contributions were just as essential to the operation’s success.
And then there was Glyndwr Michael, the homeless Welshman whose body became the fictional ‘Major William Martin’. In life, Michael had struggled with poverty and ill health; in death, he became the unwitting centrepiece of one of the war’s most audacious deceptions. “He had a really difficult life and died in poverty”, Carey says, “but in his death, [he] saved hundreds of thousands of lives and this show acknowledges that in a way that maybe you wouldn’t be able to do in two hours in any other kind of medium”. It is one of the show’s most sobering truths – that the success of the operation depended on someone whose life had been largely invisible.
Perhaps because of this, Carey sees the story as more than a simple eccentric wartime anecdote. Its appeal lies partly in what it says about cooperation. “We live in a very kind of crazy time and very polarised time where people live in various echo chambers and kind of are afraid of each other”, he tells me. Against that backdrop, Operation Mincemeat becomes a reminder that complex problems rarely have simple solutions. “Human beings are messy”, he says. “We’re messy, we’re complicated… we’re born into things that we didn’t ask for. This is about people from every background coming together and doing something incredible. I think that’s something really special and something really necessary for now.”
If the themes of the show are unexpectedly serious, the experience of performing it seems anything but. In moving from off-West End, to the West End, to Broadway, and now a global tour, Operation Mincemeat has attracted an enthusiastic community of fans, affectionately known as ‘Mincefluencers’, who know every lyric and casting combination. On tour, however, many audience members arrive with no idea what they are about to see. “You can almost feel the audience kind of going, ‘What is this?’.”
Part of the fun lies in watching that confusion gradually turn into delight. The premise alone – a musical about wartime espionage performed by five actors playing dozens of roles – can take a little adjustment. But there is always a moment, Carey says, when the audience suddenly falls in love with it. “Pretty much everyone falls in love with it by the end, but it’s hearing when they fall in love with it, and they fall in love with it at different points.” For him, the turning point often arrives during a scene the cast knows as ‘the Pitch’, when Cholmondeley and his colleagues first present their elaborate deception plan. “I feel that’s where people get me as a character fully”, Carey explains. “Once that kind of happens, you’re like, okay, we’re off to the races now.”
What becomes clear over the course of our conversation is how much Carey enjoys being part of it all. Several members of the touring cast began their journey with Operation Mincemeat as understudies before stepping into the principal roles together, creating a company that feels remarkably close-knit. “I can go to work, and I just play with my mates”, Carey says simply. “And I make people laugh for a living.”
He recalls standing on stage during one of the tour’s early performances when the thought struck him mid-scene: how improbable the whole thing was. After years of working on the show in various forms – from understudy roles to the West End and now the national tour – there he was, performing one of the strangest stories alongside a group of close friends. In that moment, he says, he felt “this immense sense of gratitude” that something so unusual had become his everyday work. “My nine to five”, he reflects, still sounding fairly amused by it, “is just being dumb with my mates. It’s great. It’s so much fun”.
In some ways, that sense of unlikely collaboration mirrors the story at the heart of Operation Mincemeat itself. What began as an improbable wartime plan – devised by a handful of people with an audacious idea – has become a piece of theatre that continues to find new audiences. The musical thrives on the same mixture of ingenuity, eccentricity, and collective effort that defined the original operation. Perhaps that is why it works so well: beneath the jokes, quick changes, and absurd premise lies a reminder that history’s most extraordinary moments are often the result of ordinary people working together to attempt something that seems impossible.
Operation Mincemeat is running from the 31st March to 4th April 2026 at New Theatre.
Student Life
St Edmund Hall unveils new eco-friendly accommodation
St Edmund Hall has opened new, sustainability-focused accommodation in Norham Gardens, one of Oxford’s most affluent neighbourhoods.
The College describes the buildings, which took three years to construct, as an “exemplar” of sustainability. Designed by architects Wright & Wright LLP, they are certified with a Passivhaus standard, widely regarded as the industry benchmark for energy efficiency, and were built using “sustainably sourced and low-embodied carbon materials”. According to a press release on the Teddy Hall website, the buildings will use 70% less energy than the typical modern building.
It contains 127 en-suite study rooms, split across three new buildings: Willis House, Ashton House, and Elliott House, on the nearly 50-year-old Norham St Edmund site. The buildings, which back onto University Parks, are powered at least in part by solar panels and are heated by air-source heat pumps.
The rooms include heated towel racks, big double beds, and dimmable lights. Despite the luxury, the College kept the nightly rate in line with the rest of its Norham housing. The College told Cherwell that it “recognises the need to keep rents as low as possible” and that its accommodation costs are “below the median of all Oxford colleges”. By that standard, tenants are expected to pay around £30 a night.
Rooms on the site will be reserved for Teddy Hall returning undergraduates. They will not be available to postgraduates and, by extension, not be offered through the Oxford University Collegiate Accommodation System, now in its second year of opening college rooms to students from other colleges. The accommodation will allow Teddy Hall to accommodate all undergraduates for their whole degree.
The development’s outdoor spaces are boasted as climate-resilient and biodiverse, with landscaped gardens and lawns. For budding geographers and biologists, the most intriguing feature may be an ecology pond.
Chancellor William Hague said in a press release: “Norham St Edmund is a world-leading blueprint for future student accommodation projects and sustainable building design, both in Oxford and beyond. I look forward to seeing it serve a thriving college community for generations to come.
Student Life
Summit calls for human rights safeguards on AI
Human rights experts called for stronger legal protections against the risks posed by artificial intelligence (AI) at an Oxford AI and Human Rights Summit, with speakers arguing that human rights standards must be embedded into AI governance and technology.
The summit was hosted at the newly redeveloped Rhodes House in Oxford and organised by the Institute for Ethics in AI. It built upon Professor Yuval Shany’s consultation on a white paper, published in 2025, on the need for and feasibility of an international AI Bill of Human Rights, which proposes ways to adapt existing human rights standards so as to better address some of the unique challenges posed by AI systems and their uses.
An opening video address from the United Nations High Commissioner for Human Rights Volker Türk outlined how AI policy can keep pace with a fast-developing technology. He said that “great power demands responsibility on the same scale, and when the two don’t match, we have a problem”. Corporate control, he explained, means that AI policy stretches beyond existing national borders. He continued to praise this summit for bringing together leaders and representatives at the forefront of the discussion.
Speakers called on the UK government to establish legislation, recalling Labour’s manifesto commitment to an AI Bill of Human Rights. The panellists broadly agreed on the importance of human rights, but appeared less aligned on what enforcement should look like in practice.
In an exclusive interview, Michael O’Flaherty, the Council of Europe’s Commissioner for Human Rights, told Cherwell that political short-termism Continued on pg. 2 risks undermining efforts to address the long-term consequences of AI. “We are infected across our societies with shorttermist responses to the great issue of our societies and politics,” he said, adding that electoral cycles make it difficult for politicians “to think beyond the next election”.
O’Flaherty also noted that younger generations no longer take the international human rights system for granted. “There is no longer an assumption that the human rights system is safe, that it will survive,” he told Cherwell. He argued that political leaders increasingly treat human rights selectively, saying: “Increasingly, leaders are treating human rights, if they are respected at all, as an a la carte buffet. We take those rights because they serve our goal. We’ll ignore others because they get in the way.
The summit also heard concerns about the effects of AI-generated misinformation on communities that may have limited access to, or awareness of, the technology itself. An audience question asked human rights experts to consider the impacts of AI on populations, such as those in India, who might be unaware of its existence. The focus on the impact of AI on populations in developing countries more vulnerable to the power of big tech was a key theme of the summit.
Eileen Carter from the South African Human Rights Commission warned that underrepresentation of African languages in large language models could exacerbate existing inequalities. She also raised concerns about the effects of misinformation and deepfakes on elections, referring to more than 360 deaths associated with unrest and the amplification of narratives.
The third panel, which offered a civil society perspective on promoting human rights in AI systems, offered some hope. Across all speakers, the potential for AI to transform the beliefs that underpin human rights, including the rights to water, education, and an interpreter, was debated. When asked about AI’s potential to unravel and alter the definition of human rights, such as what is included in the ‘right to education’ O’Flaherty told Cherwell: “The damage that can be done by AI has hit more dramatically and more visibly than perhaps any other sector within education through the phenomenon of cognitive loss, of cognitive transfer. We’re only beginning to realise the extent to which we have allowed education to be fundamentally undermined for an entire generation.
“It’s time to seize that now and engage it. I’m not sure that the classic understanding of the human right to education is particularly well-framed for this extraordinary development.”
In a discussion on different countries’ regulatory approach to AI, Suresh Venkatasubramanian, professor at Brown University and former AI advisor to US President Joe Biden, argued that AI systems should not be treated as inevitable developments beyond human control. “We continue, I think, to talk about AI as a thing that emerged out of nowhere that we just have to deal with,” he said. “We forget that these aren’t coming from an alien planet and they were built by entities that choose to build them in a certain way.” He called for pressure on technology companies to make different choices about how AI systems are developed.
Questions of accountability also emerged during discussions about AI’s potential to improve access to justice. Research presented by Philippa Webb said that only 10% of people who have access to a lawyer can get one while there are thousands of bookings for an interpreter in a court covering 150 languages. However, this progress is not cemented as “general-purpose chatbots hallucinate 58% of the time on a legal task”. The use of AI in moderating legal proceedings raised fundamental questions about humanity and authority. Thompson Chengeta from Liverpool John Moores University said that “human rights is the last line of defence so when we say we want a human rights based governance… human rights is not an idea, it is an obligation. There is a gap that can only be recovered by a legally binding instrument”.
The event culminated in a panel offering an industry perspective. Co-host Dr Caroline Emmer De Albuquerque Green questioned representatives from Meta, Google, Microsoft, and OpenAI. Michael Karimian, who works in digital diplomacy at Microsoft, discussed the role of private sectors in engaging with AI, defining corporate responsibility as something which “provides transparency and identified risks”.
All companies supported having formal programmes to ensure that they have an AI policy in place. Within their own companies, they suggested protective measures such as specialised training to ensure that policies, such as whistleblowing, are understood. Alexandria Walden from Google described how consultations with stakeholders could be used to identify when the product breached users’ boundaries. These assessments, according to OpenAI’s spokesperson, “feedback into tangible technical input” and “benchmark it”.
Fundamentally, understanding the rationale behind human rights is imperative, though lacking. Alexandria Walden from Google said: “Whether or not they understand human rights, they care enough to infuse it in their company… we might not always get it right, but it is something we care about.”
Where former panels discussed controls to ensure human rights are considered in the development and implementation of AI products, this panel focused on mitigation. A spokesperson from Google pointed out that technology is inevitably going to move faster, so multiple tools are needed. Companies, OpenAI’s representative noted, still encounter issues such as discrimination and free speech. Consequently, they regard this as an additional policy which companies have a structured model to deal with, but newer companies, and newer industries, haven’t learnt it yet.
In her concluding remarks, Green called for policy makers to “make the abstract actionable” at both governmental and corporate levels. She argued that, by framing the issues posed by AI as human rights issues, we gain a “foundation” for recognising AI’s many societal impacts.
Student Life
Oxford University launches Ebola vaccine trial in Uganda
Ugandan participants in a clinical safety study received an Oxford developed Ebola vaccine this week.
Researchers vaccinated the first participants on 6th October in Masaka, Uganda. The phase follows the launch of a first-in-human Phase I trial in the UK evaluating the same vaccine candidate.
They received the vaccine as part of an evaluation of the safety and efficacy of a ChAdOx-based Bundibugyo Ebola vaccine candidate developed by the Oxford Vaccine Group (OVG) and the Pandemic Sciences Institute at the University of Oxford.
Development for this vaccine began in May this year in response to the ongoing Ebola outbreak in the Democratic Republic of the Congo (DRC). The research, led by OVG’s Professor Teresa Lambe and Professor Simon Drysdale, is funded by the Coalition for Epidemic Preparedness Innovations (CEPI). No licenced vaccine for the Bundibugyo strain of Ebola virus currently exists.
In a statement to Cherwell, OVG said its involvement includes collaborating with the Ugandan research team to support “the study’s scientific design, clinical trial coordination, safety oversight, and evaluation of vaccine safety and immunogenicity”. The Phase I clinical trial addresses a rare strain of Ebola virus affecting communities in the DRC since May. The phase is a collaboration between the Medical Research Council/ Uganda Virus Research Institute and the London School of Hygiene and Tropical Medicine (LSHTM).
Dr Nicole Lurie, CEPI’s Executive Director for Emergency Preparedness and Response, told Cherwell: “It [the Bundibugyo outbreak] remains the fastest-growing and second-largest Ebola outbreak ever recorded – and we currently remain without a licensed vaccine or treatment.” The Bundibugyo Ebola epidemic in the DRC has surpassed 8,600 cases, with almost half of infections proving fatal.
The outbreak was declared a Public Health Emergency of International Concern (PHEIC) by the World Health Organisation (WHO) in May.
OVG told Cherwell: “For more than a decade, the University of Oxford has performed many clinical trials of candidate viral-vectored vaccines. Some of the most promising vaccines used a modified chimpanzee adenovirus, a harmless version of a common cold virus. The Oxford-AstraZeneca (ChAdOx1) COVID-19 vaccine was approved for emergency use in the UK in December 2020 and was estimated to have saved six million lives during 2021 alone, and over 3 billion doses were used worldwide.” The adenovirus vector vaccine technology trialled in this study was successfully used worldwide as part of the Oxford-AstraZeneca COVID-19 vaccine.
More funding is necessary to ensure the development and approval of the Ebola vaccine. Lurie told Cherwell: “Without sufficient additional funding, we are at risk of not being able to develop these promising vaccine candidates… CEPI urgently needs US$128M now to keep our Bundibugyo emergency R&D response moving. Without it, we are putting the DRC, and the world, at tremendous risk.”
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