Image credit: Manuel Harlan
Written by Hugh Whitemore with a new epilogue by Neil Bartlett
Directed by Jesse Jones
A Royal & Derngate, Northampton, Landmark Theatres and Oxford Playhouse co-production in association with Liverpool Everyman & Playhouse and HOME
HOME MCR
⭐️⭐️⭐️⭐️
This timely revival of Breaking the Code offers a moving, finely judged portrayal of genius under siege. Hugh Whitemore’s play about Alan Turing; the mathematician, Enigma Code war hero, and victim of Britain’s criminalisation of homosexuality might be almost four decades old, but in this production it feels achingly relevant and startlingly humane.
At the centre is a beautifully modulated performance by Mark Edel‑Hunt as Turing. He resists the temptation to play Turing as an eccentric caricature and instead finds something wonderfully fragile and real. His speech patterns, social awkwardness, and flashes of impish humour combine to give the role a quiet power. The moments when intellect falters in the face of love or shame are especially affecting as life unravels. This is a truly mesmerising performance as Edel-Hunt gives us a stuttering misfit who visibly soars when describing mathematical theorems and who yearns for love and affection.
Director Jesse Jones keeps the staging spare and fluid, allowing the story’s emotional logic to unfold like a mathematical proof. The use of minimalistic design and subtle lighting anchors the production in its historical moment while underlining Turing’s eerie prescience about the modern digital world. The simplicity allows for a fluid and believable transition through the numerous vignette pieces which weave together this study of Turing the man and the genius.
The rest of the cast are impressive with Susie Trayling as Turing’s mother and Joe Usher as his ill-fated lover bringing moral texture and earthy warmth, ensuring that this is no sterile biopic but a living, breathing human drama. There are some simply beautiful interactions in this production that do justice to the writing but the standout moments are with Peter Hamilton Dyer who plays Turing’s colleague, Billy Knox at Bletchley Park. The two actors play off each other with a precision and wit that is simply theatrical alchemy.
Image credit: Manuel Harlan
The new epilogue by Neil Bartlett updates the original 1986 play by taking into account Turing’s 2013 pardon and the development of “Turing’s Law”. This may have felt like a necessary update that brings the story into sharp relief for our times. However and perhaps due to watching this production in Manchester where Turing is already celebrated with such pride and fondness, this felt unnecessary. The additional exposition jarred with Turing’s final moments on stage, played with heartbreaking restraint which quietly reminds us all how brilliance can both illuminate and isolate.
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