Writer: Hugh Whitemore
Director: Jesse Jones
There is no denying that we need to remember, honour and celebrate the life and achievements of Alan Turing. Without him, we would not be living the lives we do today for many reasons. The question is whether Hugh Whitemore’s play is the best vehicle to present Turing’s story.
Based on Jesse Jones’ production, the answer is, sadly, no. The script is built around a series of duologues, only occasionally extending to a three-person scene. Whilst the dialogue is well crafted, it is very limiting to rely so heavily on duologue as the basis for conveying both narrative and drama.
Indeed, the whole piece lacks both pace and drama. Perhaps because the life of Turing is now better known than at the time Whitemore originally wrote the play, audiences already know much of what is covered by the text. The lack of dramatic tension is fatal to the success of the play overall.
The production does, however, have many redeeming features. Jones’ direction works very hard to inject energy into the very static script, but there is only so much that can be achieved by moving chairs around to bring vitality to the action. Visually, the production is very handsome: Johanna Town (lighting designer) and Jonathan Fensom (set and costume design) combine their skills well to create an impressive and imposing aesthetic.
Dominating the production, and rightly so, is the towering performance of Mark Edel-Hunt as Turing. The role is demanding both in emotional range and in the complexity of many of the mathematical and computational concepts being outlined. Edel-Hunt handles all of this effortlessly. It is an award-worthy performance without a doubt.
The rest of the ensemble offers robust support of this central performance. Peter Hamilton Dyer as Turing’s boss at Bletchley is particularly characterful, making much of the comedy in his scenes.
However, the strength of the acting cannot mask the flaws in the text. A detailed character study still needs a proper dramatic arc to be fully satisfying.
The decision to invite the acclaimed Neil Bartlett to write an epilogue to give the audience an insight into how Turing’s legacy has developed is rather baffling. The new scene is unnecessary and feels rather glib. Indeed, it takes away the power of the original ending.
This is a well-acted, high-quality production of a play that is not as effective as when it was first staged. There is much to enjoy but perhaps it is time for another writer to see what they can make of Turing and his legacy.
Runs until 11 October 2025 and on tour
