Many of us have heard the name Alan Turing, but few know much more about him than what he is most known for: breaking the Nazi Enigma code, which helped bring an end to World War II. Known as the father of computer science, Turing was a pioneering English mathematician and cryptographer. In 1936, at just 24 years old, he developed the Universal Turing Machine, which would lead to the creation of the first modern computer. During the Second World War, he worked as a codebreaker for the British government, creating a machine that could decode the German military’s encrypted transmissions, which likely saved millions of lives. In 1950, he published a paper that asked, “Can machines think?,” which became the foundation for artificial intelligence.
Turing was also openly homosexual at a time men could be jailed and subjected to barbaric treatments to “cure” them of what was considered a preventable disease. In 1952, he was arrested and charged with “gross indecency” for unapologetically admitting to having a relationship with another man. His punishment was chemical castration, a series of hormone injections that reduced his libido, left him impotent and caused breast tissue to form. Deemed untrustworthy and a security risk to the British Foreign Office, he was harassed by police surveillance until 1954, when he took his own life.
Central Square Theater’s stirring production of Hugh Whitemore’s “Breaking the Code” follows the turbulent but brilliant life of one of the world’s most important thinkers. The play begins in 1952 in a police investigation room. Having just reported a minor burglary in his home, Turing’s tale becomes tangled when the investigator starts poking him for details about his personal life. Cornered by the questioning, Turing retreats into a 30-year, nonlinear journey through his mind, where we learn of his many triumphs, losses and loves.
Eddie Shields gives a superb performance in the leading role. Pivoting expertly between Turing as a young man and Turing in middle age, Shields makes smart, thoughtful choices that distinguish his character easily at different times in his life. He exhibits Turing’s nervous habits deftly (stuttering, nail-biting, blinking) without pushing them too far. He shows nimble control of Whitemore’s long, complex speeches about the beauty in mathematical perfection.
Shields is surrounded by an equally stellar supporting cast. Paula Plum (Sara Turing) and David Bryan Jackson (John Smith, Dillwyn Knox) are delightful and believably British in voice and physicality. Matthew Beagan brings confidence and charm to his four very different – and distinctly portrayed – roles. Josephine Moshiri Elwood exudes warmth and kindness as Turing’s friend and fellow mathematician, Pat Green. And Dom Carter brings a quiet sympathy to the role of Mick Ross, the investigator.
Scott Edmiston’s direction is exquisitely crafted. His staging is intentional, and he keeps the actors moving steadily (sometimes even speedily) within and between scenes, never letting attention dip. He has also gathered a solid design team that has created an exciting theatrical world for the actors to play in.
Of particular note was Janie E. Howland’s set design, which is spare but intriguing. With no walls, nothing is being concealed. Symbolically, this works well in a play that centers on an interrogation of Turing’s homosexuality – something he refuses to hide. Shaped like an isosceles trapezoid (for the nonmath nerds, trapezoids are often used to explore angles or, in this case, thoughts), a backdrop of TV screens is connected by scaffolding and strips of bright neon light. The five screens are meant, perhaps, to symbolize the five major parts of the brain, with each displaying images that change with Turing’s thoughts, memories, ideas and feelings. The acting space on the floor mirrors the shape of the webbed screens above and gives the impression the entire play is taking place inside of Turing’s mind. This becomes all the more clear when he describes a recurring nightmare in which he is “trapped inside an enormous mechanical brain.”
Turing was pardoned in 2013 – nearly 60 years after his death – for his conviction of “gross indecency” and honored for his contributions to the war effort. While much has changed since his death, much is still the same. More than 60 countries still have laws that criminalize homosexuality. Conversion therapy occurs nearly everywhere in the world, including the United States, where it is legal in 20 states. Twelve countries have laws that impose the death penalty for homosexual activity. As Turing said in his 1950 paper regarding computer intelligence, “we can see plenty … that needs to be done.”
Breaking the Code is the story of an extraordinary man that history almost forgot. Thankfully, Central Square Theater has reminded us of that story with its beautifully realized production.
“Breaking the Code” by Hugh Whitemore; directed by Scott Edmiston, scenic design by Janie E. Howland, lighting design by Karen Perlow, costume design by Chloe Moore, sound design by Aubrey Dube, projections design by SeifAllah Salotto-Cristobal, props design by Julia Wonkka, dialect coach Danny Bryck, stage manager Charles Waite Clay. presented by Central Square Theater, 450 Massachusetts Ave., Central Square, Cambridge.
A version of this story appeared originally on TheaterMirror.net.
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