Bringing in their own touches, yet keeping everything that made the play the classic it is, the People’s Theatre’s production of Breaking the Code is a lesson to everyone in how to do this right.
Regulars here may have noticed that I review very few plays from conventional amateur dramatics. This is partly because the two I watch the most I work too closely with to review fairly, but it’s more that it’s rare for me to see anything that stands out. It’s a tough thing to do. A fringe theatre company working with a fraction of the resources can wow me with a great script or originality, but when you’re performing a well known play, what can you do? It must be said that a lot of amateur dramatics productions don’t help themselves by thinking that a good play is all about remembering your lines and standing in sightlines – even People’s productions have fallen into that trap before. But even with the best will in the world, there’s always the nagging thought at the back in the back of your mind that no matter how well you do, a professional company can do it better. Sure, the script might be great – and few would say anything else about Hugh Whitemore’s story of the Alan Turing and one of the nation’s greatest injustices against one of its greatest heroes – but that achievement isn’t yours.
So it is a rare pleasure to see the People’s defy these expectations completely, and put something that is not only on par with a professional company’s offerings, but in some ways even surpasses them. The People’s is at an advantage over most of its peers in that it has a far wider choice of actors – everyone here was suited to their part, from a suitably shifty Ron Miller to 1950-mentality detective Mick Ross to a suitably officious Dilwyn – but that is not what makes this play stand out. What stands out here is touches the People’s added to make their production unique. From the start and throughout, Leah Page’s creative set added a personal stamp on the play, but by biggest change – and a bit of a gamble too – was transforming this play from an intimate production with never more than three people on stage to a big productions with a cast of seventeen.