Breaking the Code Review (Spoilers included)

Photo Credit: Tim Stoeckel

Breaking the Code - 4 out of 5 stars
St. Jude's Players
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Hugh Whitemore’s 1986 biographical drama, Breaking the Code is based on Andrew Hodge’s biography: Alan Turing: The Enigma. Rather than presenting Turing’s life as a straightforward chronological biography, Whitemore moves back and forth between important periods: Turing’s schooldays, early relationships, wartime work, post-war research into computing, and the prosecution that followed his arrest in 1952.

The latter part of the play focuses on the devastating consequences of Turing’s conviction for “gross indecency,” then a criminal offence in Britain. He accepted hormonal treatment—commonly described as chemical castration—as an alternative to imprisonment, before dying in 1954. The play works as both a portrait of an exceptional scientist and an indictment of the prejudice that helped destroy his life.

Upon arriving at the St. Jude’s Hall, it was quickly mentioned by the Front of House team that Don Oakley was called out in an already published review, and upon looking over the program, I understand why – his name appears alongside numerous crew positions including Production Manager, Set Design and Construction coordinator… and then we also find him helping out Front of House. One can only imagine the strong working relationship between Oakley and Director Les Zetlein.

Zetlein brings a thoughtful vision to the production, with many choices shaping its atmosphere and character relationships. At times, however, that approach doesn’t fully engage every audience member, particularly in moments where the pacing could benefit from greater refinement. Additional movement and variation in the actors’ positioning would also add visual energy, helping to avoid moments where performers remain seated or standing in one place for extended periods. These adjustments could strengthen the production’s rhythm and keep the audience even more closely connected to the unfolding drama.

Brant Eustice’s Alan Turing delivers several compelling arguments throughout Breaking the Code from the moment his first scene begins through to his final apple. He works well alongside a myriad of characters that have their own stories to tell but also fill his world. Turing is a complicated character, and yet Eustice drives his life across the finish line with purpose… and a strong stammer.

Photo Credit: Tim Stoeckel

Jamie Black, as Detective Mick Ross, epitomises the English country detective, attempting to get to the bottom of this ‘robbery’. Black has several comical lines that are delivered straight and receive a positive response from the audience. We soon discover he is working on the order of the British Intelligence, concerned for the secrets Turing may otherwise reveal, and while following orders, he sympathises with Turing who unwittingly admits to another crime that sees him facing the courts.

In the role of Dillwyn Knox, David Lockwood delivers a delightful portrayal. His speech feels natural and purposeful, and his charm draws us effortlessly into Knox’s connection with Turing. Each line and physical choice informs the mentor’s significant impact on Turing’s professional development, building towards a quietly devastating revelation in the closing moments that went unnoticed by Turing.

Sara Turing is not only Alan’s mother, but someone who was deprived of all motherly instincts for the sake of conforming to the English law. Rhonda Grill delivers a moving performance when the cracks begin to grow upon Alan’s confession that he is in trouble with the law and may face prison time, fighting her inner voice between mother and law-abider. Her performance further develops upon collecting Alan’s belongings at the conclusion of the play where she puts her feelings firmly back in their place.

Tianna Cooper’s Pat Green is Turing’s fellow colleague at Bletchley who found herself in love with Turing and offered herself to him as his wife despite his homosexuality. Cooper’s emotional journey drew in the audience and had me awaiting her next scene. She has an innate ability to show how to listen and respond as if in the moment to the situation surrounding her and the responses she receives. Her performance in Act Two alongside Eustice was a short breath of fresh air before being thrust back into the intensity of the action.

Peter Davies receives little stage time, but he makes the most of the material he must work with. We meet British Intelligence Officer John Smith early in the play, not knowing his relevance other than to put the pressure on Detective Mick Ross. As he returns later in the play, it is then that we discover his motives for interfering in Turing’s criminal proceedings, suggesting that Turing spends his personal time with men that are in the same business.

Photo Credit: Tim Stoeckel

Sebastian Hollingsworth’s Ron Miller is the catalyst that drives Turing to face Detective Ross. His performance is honest and easy going, even if we have a distaste for Millers’ actions. Hollingsworth has a natural charm that presents a believable character that would get picked up at a pub downtown and I’m still not sure whether this is a good thing or not…

We initially meet Nicholas Koulioubus as Christoper Morcom and initial thoughts linger toward being a young seed in the Adelaide theatre scene and all that entails. However, it is when we meet him once again as Nikos from Ipsos in nothing but underpants and fluent Greek dialogue that we reflect and notice the creative contrast Koulioubus has created to differentiate his two characters. This may be his first production with St. Jude’s Players, but I hope I get to further experience his acting in the future.

The soundscape evokes the period and adds depth, while the lighting design is restrained, ensuring the action remains the focus. A wider range of lighting states may have helped distinguish the different playing areas. Oakley’s set creates an effective, minimalist environment with a black-box sensibility, despite the proscenium arch being heritage-listed and limiting the design. Its stark, practical aesthetic complements the play’s atmosphere.

If maths is your thing, or computer engineering… then you’ve probably heard about Alan Turing. However, if you’re like me and didn’t know who he was before Breaking the Code, then this is a great crash course into not only his life, but his convictions and accomplishments.

- Andrew Broadbent