This production from the Kings Langley Players was a welcome revival for Hugh Whitemore’s superb play about Alan Turing. The piece shifts back and forwards in time, and to various physical locations including inside the windowsill at Bletchley Park, creating a challenging piece for actors and audience alike. The changing locations were represented by another appropriately minimal set created and lit by Ron Balmforth with usual aplomb.

Jean Balmforth, directing with a sure touch, an obvious vision and warm regard for Turing as well as bringing out the humour in the play, assembled a strong ensemble of KLP actors who worked harmoniously as a support team, but all with interesting individual characters.

Alan Yates, Mike Crow, Andrew Knight, Catherine Ball and Mischa Attius were all sound but Sally-Anne Rafferty particularly impressed as Turing’s mother. She aged visibly, changing from floaty and slightly flirtatious, through anger and bewilderment, to suppressed devastated quivers after his death; a moving, finely tuned and understated performance.

Jamie Yates also stood out, doubling as Turing’s boyhood friend Christopher, and Nikos from Ipsos. In both roles he was utterly believable and engaging, listening and responding to those around with naturalistic charm.

But the outstanding performance of the evening came from Dave Barron in the pivotal role of Alan Turing. His mesmerising portrayal revealed that his acting experience stretches far beyond the louche pantomime villains we have seen him play earlier this KLP season.

Every movement, every gesture demonstrated something about his character, exposing naked emotions, and a range of moods subtly defined his relationships with the people around him, from the carefree fervour of his friendship with Nikos to being cowed by policeman Ross (played with confident stillness by Andrew Knight).

An accomplished, tender and touching performance well deserving of the standing ovation he received on the final night.

Mary Musker