Tag Archives: Amy Thompson

Work of Genius

BREAKING THE CODE

Crescent Theatre, Birmingham, Saturday 6th October, 2018

 

Before Alan Turing became a household name some fifty years after his early death, Hugh Whitemore wrote this play which went a long way to establishing the computing pioneer as one of the most important figures of the Second World War.  Turing’s work in cracking the code of the Germans’ Enigma machine played a major part in our defeat of the Nazis – we have a lot to thank him for.

The timeline of the play is not in chronological order.  It is up to the audience to decode the order of events to build up a picture of Turing’s life story.  Director Liz Plumpton keeps the staging simple, allowing clues from the script to inform us which decade we’re in. She is blessed with a superlative cast, who keep us riveted throughout.  The intimacy of the in-the-round setting puts us right in the action as we eavesdrop on Turing and the people in encounters at work and at play.

Making his debut at the Crescent, Jack Hobbis is stunningly good in the lead role.  Hardly ever offstage, he is utterly convincing, inhabiting the character with nuance, animation and total conviction.  This Turing is eminently likeable, for all his eccentricities, quirks and directness.  I suggest the Crescent treat Hobbis the way Turing treated his tea mug: chain him to a radiator so he can never leave the building!  I have seen lesser performances win all sorts of awards.

The mighty Brendan Stanley is thoroughly credible as no-nonsense detective Mick Ross, and Phil Rea is also on excellent form as Turing’s Bletchley Park boss, Dilwyn Knox, a humorous cove, decidedly old-school.  Angela Daniels, as Turing’s mother, adds depth to her characterisation as the action unfolds, while Sanjeev Mistry makes a strong impression as Turing’s fateful bit of rough, Ron Miller.  Amy Thompson combines sweetness with efficiency as female boffin Pat Green, and Tony Daniels has a pleasing cameo as top-secret brass, John Smith.  Young actor Louis Clare appeals as Turing’s schooldays chum, Chris Morcom and later dazzles as Greek trick, Nikos, spouting the language like a native – an impressive feat on its own but Clare imbues Nikos with a remarkable presence as he listens to Turing’s babbling.

Jennet Marshall’s costumes do most of the period work for the production, evoking the era superbly, while Kristan Webb’s lighting design stylishly takes us from place to place and time to time.  The final moment, of Turing with his poisoned apple, will stay with me a long time.

A superlative production that is both humorous and gripping; another jewel in the Crescent’s sparkling crown.  We learn a good deal about the tragic genius, who has become a hero-martyr type, a figurehead for the decriminalisation of homosexuality.  I wonder if the Alan Turing Law, passed as recently as 2017, pardoning all those cautioned or convicted of homosexual acts, would bear his name if he hadn’t saved us all from fascism, or whether the long-overdue law would have been passed at all.

breaking the code

Genius! The brilliant Jack Hobbis (Photo: Graeme Braidwood)

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Boots and All

HOBSON’S CHOICE

Crescent Theatre, Birmingham, Sunday 12th November, 2017

 

Harold Brighouse’s classic comedy first appeared in 1916 when the tide of women’s suffrage was running high.  Set in 1880, it tells of Hobson, a widower and owner of a shoe shop, seeking liberation from the three grown-up daughters who work in his shop without pay, so he can have some peace and quiet.  He sets to marrying off the younger two – the eldest, at the advanced age of 30 is beyond hope, he feels.  This eldest, Maggie, takes matters into her own hands by browbeating the timid on-site shoemaker into marrying her.  She then orchestrates matters so that her sisters are able to wed the men of their choosing, manipulating their father until he is worse off than when he started.

The script still sparkles with sarcastic barbs and acerbic observations and feels fresher than any episode of Open All Hours penned in more recent years.

As blustering, boozing patriarch Hobson, the mighty Colin Simmonds gives a majestic performance in a superb characterisation.  The timing is impeccable; the nuances and the broader moments provide a masterclass in comic acting.  He is matched by two fellow leads: Kimberley Cormack as the level-headed, assertive and somewhat Machiavellian Maggie in a formidable display – you wouldn’t want to cross her; and James David Knapp is endearing and extremely funny as the timid and shy cobbler, Willy Mossop.  You wouldn’t want to be in his shoes, so to speak.

Between them, these three bring the play to remarkable life and they are supported by a strong team of players: Notably, Amy Thompson as Vickey, Emily Jane Carey as Alice, Carl Foster as Fred Beenstock, and Damien Dickens as Albert Prosser.  There are memorable cameo appearances from Jo Thackwray as the haughty Mrs Hepworth and Brian Wilson as Hobson’s drinking buddy, Jim.

Faye Rowse’s set design evokes the period stylishly and effectively, while Angela Daniels’s costumes reveal not only the characters’ status but also the changes in their fortunes as the action unfolds.  Charlotte Robinson’s hazy lighting suggests gas- or candlelight.  Director Les Stringer hits all the comedic hotspots while maintaining the emotional truth of the situations.

Thoroughly engaging and massively entertaining, this is a splendid production of a masterpiece and is a ‘shoe-in’ for one of my favourites of the year.

hobson

The shoe’s on the other foot. Kimberley Cormack, James David Knapp and Colin Simmonds (Photo: Graeme Braidwood)