Director Les Zetlein has done a fine job with this thought-provoking play. Many are familiar with the work done at Bletchley Park during World War 2 to crack the German U-boat Enigma code by Alan Turing and others. In Breaking The Code, while that is an important element, it’s the life, thoughts and experiences of Alan Turing himself which are at the centre. This is an intellectual play and one resonant with important questions about science, mathematics and high level academic activity – along side the moral, social and legal questions about truth, fairness and society’s norms. It’s considerably more than the German code that is or could be broken. Turing is the channel for the development of all those ideas and issues.
The complex role of Alan Turing was remarkably realised by the incomparable Brant Eustice. His was a study in acting. He was authentic and believable from the outset, taking care to interpret dialogue, actions, expression, timing and mannerisms with acute detail. It is a huge role. In many ways the play is all about Turing who is on stage for almost the entire two Acts. Eustice related to each of the other actors with subtlety and nuance, each in their own way. He’s a clever actor, and we admire the cleverness. He excelled in his many exploratory and explanatory speeches, highlighting their intensity and often searching meaning, while at the same time holding our interest. That was a most notable achievement, given their abundance and variety – at times a sophisticated academic or philosophical exposition, and at others a raging against the injustice of the social and legal mores which convicted him of ‘gross indecency’. Turing is presented in this play as often being unaware of the impact of his statements and behaviour. Eustice managed that with conviction and credibility.
He was well supported by the other cast members. Jamie Black was firm, professional and fair as the police interviewer Mick Ross. He clearly represented the social values of his time with a no-nonsense delivery. He had a number of telling exchanges with Turing, providing an important contrast. David Lockwood was gentle, decent and understanding in his role as Dillwyn Knox, administrator of Bletchley Park. He handled the role well, diplomatically dealing with some of the conflicts provoked by Turing’s manner and behaviour.
Rhonda Grill was splendid as Sara Turing, Alan’s mother. She showed the character’s loyalty and caring of her son, but, true to the times, was unaware – or wanted to be – of his sexuality. She had a certain naivety and yet a firmness and resolution. Tianna Cooper was sensitive, supportive and genuine in her role as Pat Green, Turing’s Bletchley co-worker and would-be partner. Some of her scenes with him were important in themselves and also in drawing out new realisations of Turing’s character, and indeed, fate.
Nicholas Koulioubus was forthright and clear in both of his roles, and Sebastian Hollingsworth made the most of his role as Ron Miller, who, however unwittingly, was a prime catalyst in Turing’s social and professional downfall.
The set was simple and sparsely furnished. At the rear was a screen on which there was a photograph for each scene, mostly of the exterior of the building in which that scene took place. It evoked a mid-century slide show which formed an unobtrusive context in each case. The play is one of words, ideas and feelings. The relatively stark set effectively facilitated its central purpose.
This was a well-devised and well-acted production of an important play, relevant to the time of its action and, indeed, to our own times.
