ju s t o u t ▼ fo b ru a ry 4 , 1 0 9 4 ▼ 2 5
To be or not to be
(out of the closet)
Breaking the Code is the true-life fifties nightmare
o f one o f Britain's foremost scientists
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rtists Repertory Theatre continues its
observing Turing at the various stages of his life.
tradition of presenting new and in­
This touch reminded me of Wim Wcndcr’s film
triguing works with the Portland pre­
Wings o f Desire where unseen angels constantly
miere of Breaking the Code by Hugh
watch over the inhabitants of Berlin, often as
Whitemore. This unusual play is a
close as a shoulder—sadly and kindly watching,
fantasy for the stage, based loosely on the biogra­
unable to interfere or interact This interesting
phy A lan Turing: The Enigma by Andrew Hodges.
touch lent an air of poignancy and continuity to
It explores the life of brilliant British scientist
the proceedings.
Alan Turing, a WWII hero who cracked the baf­
Artistic director Allen Nause takes the stage in
fling German Enigma Code which gave the Allies
the lead role and is rarely out of our sight. As
access to the se-
'
portrayed by Nause, Turing is a man whose bril­
cret codes that
liant mind races so fast his sentences come out in
governed German
stammered soundbites. Biting his nails or absent-
naval activity. He
mindedly rumpling his hair, Nause is one of those
is also known for
actors who so completely inhabits his character
his discoveries in
that we no longer sec an actor on stage— we are in
the field of mili­
the totally believable presence of this supremely
tary intelligence
intelligent yet dangerously childlike man.Turing.
and made instru­
In a flawless cast that turns in wonderful
mental contributions toward the development of
supporting performances, veteran actor Gaynor
the first computer.
Sterchi is a standout as Turing’s mother, Sarah.
In spite of his supreme contributions to his
Even when annoying her son with a cheerful
country, Turing became the object of political
idiocy about his profession or playing match­
police persecution when he reported a robbery of
maker with one of his female colleagues, you
his home and revealed to the police in the course
can ’ t help but like her. At the heart of the character
of the investigation that he was gay. Same-sex
is a fierce pride and love of her son that cannot be
relations were a crime in England in the 1950s and
replaced. This relationship provides the play’s
Turing was forced to undergo a humiliating in­
most moving moment when Turing must “come
vestigation, prosecution and punishment. His
out” to his mother and tell her of his arrest. A
choice was imprisonment or “rehabilitation”—a
welter of wildly differing emotions struggle for
treatment using female hormones that was sup­
expression in her face. It is a sensitive portrayal
posed to cure ho­
that
Sterchi
mosexuality. Tur­
keeps at just the
ing chose the lat­
right level, giv­
ter; he was to die
ing this charac­
shortly after com­
ter great dignity.
pletion of a year of
Breaking the
hormone therapy.
Code is filled
His death was offi­
with levels of
meaning. It is an
cially labeled a sui­
intensely politi­
cide w hich was
contested by those
cal play. At the
same time it’s
who knew him.
deeply
personal.
Hugh W hite-
It echoes the
more ’s approach to
struggle of gays
putting biography
and lesbians to
on stage is refresh­
claim heroes
ingly non-literal.
and role models
This is not an
w hile at the
evening of theater
same time re­
where we march
spectin g the
c h ro n o lo g ic a lly
right
of each in­
through a person’s
dividual to make
life from birth
the choice o f
to death. The play
floats, soars and Alan Nause (left) and Stephen Rouffy
w here, when
and
if
to
come
out.
Turing
was
not a political
zigzags forwards, backwards and sideways
martyr: his persecution came because of his hon­
through Turing’s life; we glimpse a young man in
est, naive nature—he revealed to the wrong people
his early twenties, and the next scene flashes
at the wrong time his true nature. A war hero for
ahead to the police investigation as it gathers
breaking
the secret military code, he was reviled
momentum. By refusing to deal chronologically
and oppressed for breaking the secret social code
and predictably in presenting biographical work,
of his time regarding sexuality. Possessed of an
playwright Whitemore has given us a thought
acute mind, Turing seems incapable of bringing
provoking journey that commands our full intel­
the same acuity to focus on the danger he puts
ligence and involvement.
himself
in socially and professionally.
At over two and a half hours, this play has
Breaking the Code is one of those rare plays
some plodding and tedious moments, but director
that
has the ability to stir and amuse its audience,
Jon Kretzu has approached the material in such a
and educate them at the same time. It will stay in
creative way as to minimize the playwright’s
your
mind and prompt thought and debate long
tendency to include too much. The simple silvery
after the last spotlight has dimmed.
white set by Tim Stapleton was used to great
effect Bare except for two chairs and a table, the
Breaking the Code runs through Feb. 20 at the
set provides an uncluttered backdrop for the large
Wilson Center for the Performing Arts, l 111
issues, ideas and leaps of space and time that this
SW' IOth Ave., in Portland. There will be a
play attempts. Minimal blocking and a lack of
benefit performance for Project Quest on
physical scene changes keep the clip precise.
Sunday, Feb. 20. Tickets $20. Call 242-9043
Along the side of the set are chairs that the
or 242-2420for ticket information.
actors retire to when not on stage. They sit quietly
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