A friend of mine works at the Communications Security Establishment, a Canadian government agency that does a lot of Very Secret Stuff involving codes and such. Like many other workplaces, they were having a “Bring your kids to work” day, though I’m not sure how this works if you can’t show them what you actually do. The day was to start with a little sketch about two of the great heroes of the code-breaking world, William Tutte and Alan Turing. My friend invited me to play the role of Turing.
Now, many people know that my route to writing plays has been a rather circuitous one – away back in my university days I studied the history of science, and strands of the subject do creep into my plays from time to time; this is most explicitly the case in my new play about Marie Curie. But one of the figures in the history of science whom I find particularly interesting – and dramatic – is Alan Turing, so I was very eager to take the opportunity to get to know him a little better.
I do mention Turing in an earlier play, The Lavender Railroad, though he doesn’t appear as a character. Instead, two of the characters discuss Turing in the context of his breaking the code used by the German Enigma machines in World War II.
The presentation took place yesterday, and while I’m not sure the 30-odd kids in the room were terribly interested in Turing’s and Tutte’s work, I had the great treat of getting to examine and handle a real Enigma machine that happens to reside in the agency’s archives. The historian of science in me was absolutely delighted – how often does an opportunity like that come along?
Is Turing worthy of a play about him? Absolutely – but it’s been done. The play, by Hugh Whitemore, is called Breaking the Code. I had the pleasure of seeing it in the 1980s with Derek Jacobi as Turing.