Three years ago years literate folk among those sensitive to the LGBTQ struggle were placed in a moral bind. Hollywood’s The Imitation Game sought to honor the astounding contribution of Alan Turing in WWII — a man subsequently sentenced to a fate worse than death for what England deemed criminal homosexuality. That major motion picture release predictably mangled Turing’s biography, yet to fault the botch-job appeared to “wrong” a movie which tried to do “right.”
Fortunately for theater-goers the entire mess can be bulldozed from memory by what promises to be a superb production of Breaking The Code, a highly praised 1986 play which wowed both The West End and Broadway, with Derek Jacobi as star. Back then, playwright Hugh Whitmore reverentially adhered to Andrew Hodges’ 1983 biography, Alan Turing: The Enigma. Here now, a remarkable team is spearheaded by Wallace Norman whose Woodstock Fringe Theater supplies half the cast with remaining roles filled by actors from our long-standing Performing Arts of Woodstock [PAW] on whose stage Breaking The Code is now unfolding.
The action began a year ago when Bob McBroom asked Wallace if he’d be interested in directing a play or two for PAW. When prompted as to what plays these might be, McBroom mentioned Breaking The Code and Wallace was in — all in. But as he studied the biography and script this director realized the lead role fit him like a glove. For in all fairness, Wallace figured he’d likely have won the part if — under different conditions — he’d auditioned for it.
Nevertheless this actor, director, playwright and impresario fully admits, “Now, I know I’m no Orson Welles,” so Wallace brought in Bette Siler whom he describes as “a remarkable actor and director in her own right.” Thus “the lead” wisely side-stepped attempting to direct himself. Also lucky for us, Bette and Wallace worked intensely together for a full year before unveiling last summer’s universally acclaimed Woodstock Fringe production of Samuel Beckett’s Happy Days.
The result is the most audacious — if modest — production in PAW’s illustrious history. ‘Modest’ because not a one of the 17 scenes comprising Breaking The Code contains more than three actors. And so rehearsals split between Woodstock and Manhattan allow for city professionals to honor their bread and butter shows, while cooking up a production for this Colony of The Arts actually worthy the name.
Without revealing too much of this intense drama (unless you know the plot already from the abortive film first named) consider these underpinnings.
Alan Turing [1912-54] is a mathematical prodigy whose school days’ soul-mate, Christopher Morcom, is likely the only human being to understand him. Until, that is, Turing’s brought in by British Intelligence to help crack the Nazi code, which defies deciphering by altering itself like a mutating contagion. And a contagion it is — for unless this self-disguising language is somehow translated — Britain remains a sitting duck at the whim of Hitler’s astoundingly advanced weaponry.
Many brilliant minds are already boggled when Turing is introduced to the team working night and day at Bletchley Park, the Brits’ secret intelligence lab, where, fortunately for the free-world Turing encounters a mind worthy of his own. Ironically, this mind is encased behind the fetching face of Patricia Green and — defying Alan’s previous boy school preferences — an instant rapport springs up between the two, facilitating Turing’s eleventh hour triumph over the Nazi’s Enigma Machine. Along the way and in the aftermath of Turing’s command performance of genius, we are treated to and disgusted by what Wallace Norman terms: “The radiance of one man’s integrity in the face of cruelty and disapproval.”
For England will reward Alan Turing’s winning them their war with a punishment the likes of which make Oscar Wilde’s imprisonment at Reading Gaol seem a walk in the park. And now for those who like a riddle — thrill to this one: “Macintosh and its Apple with-a-bite-removed memorializes Alan Turing” while flipping the bird at British hypocrisy, which in shame at its treatment of Turing finally “amended” inhuman laws regarding male homosexuality in the United Kingdom in 1967 — a kingdom united, indeed!
At the moment night-owl Wallace Norman thinks of nothing but Alan Turing, and when Wallace finally does get some sleep he mostly dreams of the man as well. Actually, it’s more like this: Wallace thinks and dreams of the hybrid he must create between a) Turing, who once lived a heroic life and died an awful (if fully liberating death), b) the “character” that historical person: Alan Turing, is represented as in a play entitled Breaking The Code, and c) the miracle this self-cast actor/director must carry to completion as go-between uniting these two Turings — himself, to briefly embody a “third.”
Now if you don’t smell excitement in the air surrounding PAW’s production I’d suggest seeing an eye, ear, nose & throat specialist.
Hugh Whitemore’s Breaking the Code, directed by Wallace Norman and Bette Siler, opened last weekend. Its run continues at 8 p.m. Fridays and Saturdays, November 10, 11, 17 and 18, with Sunday Matinees at 1:30 p.m. November 12 and 19.
The Cast includes Wil Anderson, Farrell Reynolds, Bette Siler, Wallace Norman, John Remington and Rick Seiler.
General Admission is $23; Senior Citizens and Students are $20. Group rates are available. For reservations or more information, call 845-679-7900. Tickets are available online at www.performingartsofwoodstock.org.
Join the family! 
