Breaking The Code

I feel quite ashamed to say that around ten years ago when I sat down to watch a production of this play for the first time I knew nothing about its content nor the man on whom the play centres. Just before the house lights dimmed I had a quick flick through the programme and noticed that the piece centres around a mathematical genius which, I can’t deny, considerably faded my enthusiasm for what was to come. Regardless of my negative preconception, the two hours which followed resulted in the best play I’d ever seen. Throughout the last decade, since seeing this play for the first time, I make a point of looking at the serenely sitting statue whenever I pass Sackville Gardens in central Manchester and always feel abundant admiration, even if only for a very brief moment. A statue of a man I’d quite easily and unknowingly pass if it wasn’t for this play.     

This time, I received the news that Sale Nomads had chosen to stage Hugh Whitemore’s 1987 biographical drama, ‘Breaking the Code’ with much advocacy and excitement. This is a highly influential play which explores the life of Alan Turing, the mathematician who broke the complex Enigma code during the Second World War and who, sadly, was later persecuted for being a homosexual. Since Turing’s suicide in 1954 there have been several plays, novels and films depicting his life and work – most recently ‘The Imitation Game’ starring Benedict Cumberbatch as Alan – so I was interested and eager to see how Sale Nomads would express the story.

The play is full of light-hearted moments which are equally as important as the gripping drama elements though it’s the latter which, rightly so, left the boldest and strongest impressions.

Mark Lees is an engaging Alan as he impressively spans the quarter century or so contained within the play. We got a believable stammering speech and awkward demeanour making the character all the more endearing. In a selection of chunky monologues he often refers to and explains his vision of an "electronic brain", or why "right" and "wrong" are not mathematical fundamentals with weight and vitality. Supporting cast members are also brilliant; Liz Hudson as Pat Green - a part which I’ve seen fade into the background so many times - was the most prominent I’ve seen the role portrayed. Liz is a perceptive actress who made it impossible not to savour in her delivery, incredibly natural and subtly charismatic, perfect!  

John Warburton as the investigating detective who, despite his function in this piece, manages to produce an enigmatic and amiable persona with the scenes between him and Mark being particularly good. I got the impression from John’s portrayal that he was following the law even if he didn’t necessarily agree with it. I enjoyed the dark undertone of Jeff Harpin as the agent who offered a very developed character for one that’s so vaguely seen and Sam Jones brings a sexy con-man quality to Ron Miller giving an agreeably understated performance if I ignore the cigarette smoking which did feel slightly contrived. 

The prompt cannot go unmentioned who was a little too eager at times being rather quick to jump in when actors were merely savouring a moment which sadly broke the mood they’d created.

The structure of the scenes shuttle backwards and forwards showing us key points throughout Turing's life, although they’re shaken out of chronological order it’s still surprisingly an easy play to follow. The pace and flow was obstructed slightly with characters going off stage to either make a sharp U-turn to come straight back on again or to leg it around the back of the stage to enter from the opposite side when I really don’t see why the actor(s) couldn’t walk from where they were and into the new scene without going off stage, this would have prevented the stop start interference we got at various points which did impede the flow a little.  

Arthur Hulse put in a fine turn as Dillwyn Knox in a performance which is by far the strongest I’ve seen from him to date, his articulation was sturdier and he found humour in some not so obvious places which were virtuous whilst offering some genuine instants which left a laudable impression. Carole Carr gave us a finely nuanced performance as Alan’s mother with a fine balance of light humour and sentiment. 

The stage design and technical aspects of this production were simplistic, I’d have liked to have seen something a little more inspiring, particularly with the set design and how the scenes were physically presented but I do appreciate the choice to let the words do all the work as they are the primary focus after all. That said, there is still plenty to like about this performance of an intelligent, multi-layered and incredibly touching play. It’s intellectually challenging and entertaining in equal measure and Sale Nomads firmly demonstrate how it’s certainly stood the test of time.  

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