It's a fascinating — if talky — tale, and URT renders it both comprehensible and visually interesting. Adam Zahler is at the helm of the in-the-round production, its circular playing space surrounded in Janie E. Howland's design by a striking swirl of empty frames and mathematical scribbles. The five supporting players take seats at the top of the aisles, from which they can seamlessly stride into their roles singular or multiple. A 1940s-chic Liz Hayes brings both smarts and kindness to the woman to whom Turing confides his secret. Debra Wise humanizes his hovering mother. And Danny Bryck combines geeky and tough as several fleeting inamoratos. But Burrows carries the play, conquering its long, enthused mathematical diatribes and skillfully combining arrogance with the innocent rapture brought on in some non-electronic brains by science. There's gross indecency on view here, but the Brit Establishment put Turing on the wrong end of it.
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