Review of Breaking the Code at Royal & Derngate (Royal), Northampton

Breaking The Code, the opening play in the new Made in Northampton season at Royal & Derngate, is a surprisingly old and rarely seen play. Written in 1986 by Hugh Whitemore, it tells the story of legendary codebreaker Alan Turing, a man who, in the 1980s, when this play first appeared, was relatively unknown. The years since the origin of this play have been good for Turing, with his life's work finally getting the recognition it deserves, and also, very much what this play centres on, a recognition of the horrific life and end that Turing had as a result of dealing with the laws of the day.

Breaking the Code has seen life before on the stage of the Royal, as back in 2003, Philip Franks took to the role of Turing in a very well-received production. So, what of this brand new version directed by the Royal & Derngate's artistic director Jesse Jones? Does it live up to Turing's legend?

That is an unquestionable yes with no machines needed to crack the class behind this gem. This new production brings Hugh Whitemore's superbly crafted and structured play to the stage in a dynamic production, rammed with sterling performances from the entire cast.

At its head, of course, Alan Turing, played with a captivating, comical, saddening and powerful strength by Mark Edel-Hunt. Hardly off the stage, this is both a tour-de-force performance and one of huge commitment. He brings Turing's mannerisms and social ticks to the role in a believable, but uncaricatured way, and performs some complicated monologues assertively. It is a fantastic performance, one of many in this play.

Peter Hamilton Dyer is another of those brilliant performances, one of immense likeability and comic timing as the blundering and forgetful Bletchley Park manager Dillwyn Knox. Only in a couple of scenes, his impact on the surprisingly strong humour within this play is significant. Joe Usher curiously brings to the stage two different lovers of Turing, but his Ron Miller is where he comes to the fore, and where Turing's world begins to unravel.

Providing the emotional strength to the play is the delightful Carla Harrison-Hodge as Pat Green, Turing's work colleague at Bletchley Park, who grows a fondness for Alan that he is unable to return in the way she desires. Their relationship stays strong, and there is a delightful coda to their own story later in the play. Susie Trayling is always in control as Alan's supportive mother, Sara, and this particularly comes to the fore in the scene where Alan confesses his sexuality to her. She whips through her emotions in a mixture of sadness, anger, and finally support.

Niall Costigan provides the backdrop to many scenes as the police inspector Mick Ross, challenged with dealing with the then criminal side of Turing's life. His character, perhaps at times, is a caricature of a policeman of the time. Still, Costigan brings depth to the role, all the same, and humour is also present in moments of the officer's clear and apparent lack of understanding of much of what Turing says.

Whitemore's play is an absolute gem, evoking a range of emotions, from funny to poignant and sad. There is also a brilliant structure to it, weaving Turing's timeline back and forth throughout. It respects its audience to be intelligent enough to grasp this as well, cleverly engineering the structure and where we are in Turing's life without sledgehammering it with obvious scripting. You soon become fully understanding of this after just a couple of scenes.

Jesse Jones directs with a gentle touch, moving the play along without haste, but never slow, and also getting the absolute best from his entire cast. Is it his best work within his tenureship as Artistic Director? Yes, without question.

The set from Jonathan Fensom is a simple gem, full of gorgeous wood panelling, which allows it to dress the scenes upon it with a chair or table. Lighting from Johanna Town is also excellent, with simple switches between and within scenes, including during a police investigation where Turing makes his statement. It helps provide context to the scenes without overplaying them. Context is also assisted by the clever and unobtrusive sound created by Robin Colyer, with simple cues heralding a switch of time and place.

The play culminates in a lovely tribute to Turing, with a new epilogue written by Neil Bartlett. Recognising both Turing's royal pardon and his impact on technology now.

Breaking the Code is admittedly a very wordy play, and what some might feel is a little dry in action. However, if you love your plays where you have to listen and absorb and not get carried away in the lightness of the world, Breaking the Code is one of the best you might find at a theatre at this time.

A cracking play full of first-class performances and a cleverly crafted script.
⭐⭐⭐⭐⭐

Performance reviewed: Tuesday, 16th September 2025, at the Royal & Derngate (Royal), Northampton.

Breaking the Code is on stage at Royal & Derngate until Saturday, 27th September 2025, before touring.

Breaking the Code is a co-production between Royal & Derngate Northampton, Landmark Theatres and Oxford Playhouse, in association with Liverpool Everyman & Playhouse and HOME.

For further details about the Royal & Derngate and to book tickets, see their website at http://www.royalandderngate.co.uk

Photos: Manual Harlan