Alan Turing - David Webb

Early forties. At the centre of the play of his life, this is an enormous part offering an outstanding opportunity for someone to explore a real life figure. Alan is shown at ages between 16 and 41 (when he died) and the actor must be able to slip effortlessly between ages without leaving the stage and without makeup or significant costume changes. Brilliant, quiet, introverted, lovelorn, determined, eccentric, gay, stubborn, and a genius. He had a mild stammer, which is referred to briefly, but actors should not unduly concern themselves about that – it should be played down not up.

Mick Ross - Adam Roberts

30s/40s. Detective Sergeant investigating Alan. Down to earth, no-nonsense copper, unable and unwilling to turn a blind eye to Alan’s confession of homosexuality. This is a very important role as Ross is in 5 scenes and keeps the plot moving along. He has humour, and is not without compassion for Alan, even though he is clearly unable to understand him.

Christopher Morcom - Luke Stapleton

About 17. A small (one early scene) but important part for a young man to play Alan’s school friend and platonic first love. Sharing Alan’s interest in science and maths, their friendship was doomed when Chris died at 18, Alan later admitting he had ‘worshipped the ground he walked on’.

Sara Turing - Frankie Godliman

Say 50s – Alan’s mother provides an important maternal and emotional focus for Alan and the play as a whole – she has four scenes aging from about 42 to 65. Traditional, sheltered, middle class, loving but concerned for Alan, she perhaps surprisingly reacts pretty well to Alan coming out. One of her tragedies is that she, like many others, never learns what Alan did for work nor his importance to the country.

Ron Miller - Chris Knights

20s/early 30s. Ron is the ‘bit of rough’ that Alan meets in a pub and because of whom he gets arrested. Over three scenes this is an important role that allows the audience to see the private side of the adult Alan. Ron is a petty thief and a promiscuous bisexual (he prefers women, but getting men is easier). His testimony, which dubiously exonerates himself, seals Alan’s fate, but he is young and rash rather than malign or thuggish.

John Smith - Keith Bollands

. Late 40s-early 60s. Probably not his real name, this shadowy figure from MI5 exists to keep an eye on Alan, and is a very different authority figure to the genial Ross. A small role (just two scenes), Smith represents the disapproval and immense power of the establishment. Good character role.

Dillwyn Knox - Wally Walters

50s/60s. Head of the codebreaking unit at Bletchley Park, Knox is Alan’s boss during the key war years. A classical scholar, he sits uneasily between academia and the civil service and his avuncular and rather scatty demeanour, well out of its depth in mathematics and cryptography, hides a highly experienced and effective leader - acting as a buffer between the eccentric scientists and the political establishment. One of his two major scenes sees him admonishing Alan for too openly chasing the boys at work – though ironically we learn that he too had had gay lovers.

Pat(tricia) Green - Linda Russell

. 30s. Three scenes. Attractive, delightful, clever, ‘normal’ young woman, Pat is another mathematician who works with Alan at Bletchley. She falls in love with him despite his eccentricities. Alan knows it, but cannot reciprocate. But they are great friends for a while. She ends up marrying someone else and Alan reflects on whether he should have approached his life more conventionally.

Nikos - Andrew Ionides

18-25. A beautiful young Greek man that Alan has a short fling with on holiday late in his life. Just one scene late in the play, Nikos speaks no English but a fair bit of Greek!! Are you, or do you know, just the person??

Director - Mark Humble

Stage Manager - Clare Pinnock

Set Design and Construction - John Godliman

Set Construction (Assisted) - Christine Bates

Set Construction (Assisted) - Nick Lund

Set Construction (Assisted) - Anne Nunn

Set Construction (Assisted) - Clare Pinnock

Set Construction (Assisted) - Adam Roberts

Set Construction (Assisted) - Linda Russell

Set Construction (Assisted) - Ian Thomas

Set Construction (Assisted) - Liz Thomas

Sound design - Mark Humble

Sound design / operation - Ian Santry

Lighting - Bill Payne

Wardrobe - Pauline Walters

Set Construction (Assisted) - Gareth Woodford

Photography - Alan Bostock (www.photoeyes.biz)