Idle Motion’s That is All You Need to Know is an engrossing and endearing piece of theatre which tells the story of Bletchley Park and the countless men and women who helped crack the enigma code.
As in all good verbatim theatre the company should put their diligent research on display, often anchoring dramatic scenes with real archive recordings and visual media, thus highlighting the real truth behind the stories they present. In fact, the play is cleverly framed by an interviewer who sits down with two subjects in the beginning and tells them she’s writing a play. But this doesn’t draw away from the immersive nature of the narrative, as we gain insight into some of the key figures of Bletchley, and become submerged by some beautiful moments of stagecraft.
The play flits between the Second World War, where the codebreakers are diligently working, and Bletchley in the nineties, where the historic site comes under threat by none other than BT. This secondary plot brings a real force to the overall story of Bletchley, and, for a modern audience, helps to bring into context the importance of keeping the story alive. Another thing all great verbatim theatre does is to give a voice to those who have previously been unsung or stifled, and Idle Motion do just that. This is a thoughtful and sensitive play which tells us just as much about the very importance of remembrance, story-telling and history, as it does about the enigma code or life during the war.
At times the play falls into the pitfalls of feeling like a school presentation, as gentle humour is mixed with laborious and over-explained facts. But in general it retains its status as an enjoyable (and educational) show which is suited to audiences of all ages. The use of movement and staging throughout is often an emotive and visceral release from the fascinating history lesson, as projections and multimedia are used beautifully, often aiding the story. The movement sequences are also very effective and moving, and there is something very pleasing about watching mathematicians suddenly breaking into lifts.
The cast are a strong bunch, bringing sensitivity and truth to these brilliant men and women, often multi-rolling as the play moves between the codebreakers in the forties and the Bletchley committee in the nineties. Sophie Cullen and Grace Chapman are particularly fantastic in their distinctive dual roles – Sophie playing both the formidable Joy and youthful Gladys, whilst Grace is the hilariously ditzy Sarah and rather brilliant Lottie.
Christopher Hughes is gripping as Gordon Welchman, both in dramatic scenes and acting as a narrative voice. The writing – particularly of his narrations – draws a fine balance between historical insight and often very poetical discourse. As he tells the story of Bletchley, nothing is left unsaid – even the authenticating discrepancies and mis-rememberings aren’t shied away from. This is a show which puts honesty at its forefront in an endearing and self-referential way. It does justice to everybody involved at Bletchley, from the young women intercepting code, to the divers retrieving enigma documents – and of course, Alan Turing, who is rather wisely not the epicentre of the play. He is nevertheless brought to life by the brilliant Luke Barton, who plays the famous mathematician with a subtle, frustrated energy.
Occasionally there is a sense of staging over substance. Most notably when a pair of child-puppets are brought out and then never used again; it feels like a theatrical device too far. But the transformative scenery and props are manipulated beautifully in the space and mould well to the story. The use of projections onto suitcases, handkerchiefs and draws is stunning.
The play moves into darker territory, as inevitably both Welchman and Turing find themselves betrayed by the very government they helped to protect. But there is light as well as darkness. The play is often very funny, with both brilliant wit and farce, and the company wonderfully portray the codebreakers as real people who danced and laughed and loved, even during turbulent times.
At its heart That is All You Need to Know is a play about admirable, unsung heroes overcoming bureaucracy (and often their own self-confidence) to try and do the right thing. It’s about the reality and red-tape of true heroism and the price of ‘keeping mum.’ It is also a fitting testament to the power and importance of story-telling – as Welchman himself says, “It is vital that we learn from our past.” And through theatre Idle Motion have helped to keep the story of Bletchley alive, and engaging for a modern audience. ★★★★☆ Chris White 25/06/15
