Revu The Moro Affair

“The Moro Affair” Poster

‍ Alex Rawnsley is an Off West End Award Winning writer/ composer and if I hadn’t have known it before seeing The Moro Affair, it would have been easily guessable afterwards. This production was so deeply impressive in so many ways that it caused an audience member behind me to not only check with me that this was a student production but also comment ‘These guys are gonna go far.’ I could not agree more.

The production is based on the real kidnapping and murder of Italian statesman Aldo Moro. Somehow, it was equally funny, sensitive and factual. The theatre was set up stadium style and Interrobang made full use of the entire space, utilising not just the stage but the corridors surrounding the stage.

“The Moro Affair”

Amelia Morton (Set designer) and her team knew exactly what this show demanded. The props team somehow had everything the production used on stage from the beginning without it becoming crowded. The initial stage set up was fantastic. Each prop had a purpose in its own right and several other purposes that were revealed throughout the show. I loved the use of the briefcases, particularly during the vigil for Moro in the first half. I also giggled my way through a scene where three cast members held up the clothes of a character to animate them instead of casting this character. It was fantastic. My favourite prop moment, however, was the final moment of the first half, where Moro’s hat somehow dropped from the North Wall ceiling (a friend and I debated how this was done the entire way home). I was equally impressed with the lighting throughout the production. Joe Davies (Lighting Designer) and the lighting team were another flawless cog in this machine, designed and executed perfectly to the millisecond.

The opening song was catchy and entertaining while fulfilling its introductory purpose. The musical numbers throughout the first half prior to the intermission were fantastic. An impressive blend of sad and hilarious. The live band was a great addition and on one occasion they were joined by cast member Orlando Avogadro on the accordion. My only critique of the score would be that I feel it lost some of its sparkle in the second half. There was one particular number featuring three cast members that played children. The song to me felt like a commentary on the butterfly effect that the death of a significant public figure can have and how it can affect intimate and domestic life. I liked this, however it would have benefitted from being slightly more fleshed out throughout the second half. The final number was very well executed but slightly disappointing as it didn’t allow for the dramatic final performance that I would have liked from this production.

As well as being impressed by Rawnsley’s score, I was perhaps even more impressed with his script. It was witty, engaging and had the crowd in stitches at least a couple of times in almost every scene. At the same time, it was characterising and drove the plot forward. To combine all these elements while never missing a beat is no small feat.

“The Moro Affair”

Of course, it was the cast and Rosie Sutton as director that brought this script to life. Each cast member played a multitude of characters. I loved this idea and it was construed through subtle costume changes and props. The only thing I would critique is that sometimes these changes were slightly too subtle and led to a little bit of confusion. Despite this, it was an element that I thoroughly enjoyed, and I think Interrobang did as much as they could with what they had.

Wren Talbot-Ponsonby as ‘Andreotti (et al)’ was an absolute delight to watch. Every time they came on stage, they glowed and the audience hung on their every line. Harriet Wilson as ‘Pope Paul VI (et al)’ was undoubtedly hilarious. Her performance was magnetic, engaging and she had fantastic comedic cadence. Orlando Avogadro was hysterical. I was already on board when he whipped out an accordion, but this was just a welcome addition to an already fully amusing performance.

The choreography throughout every number was simply outstanding. As well as being a fantastic director, Rosie Sutton’s choreography was clean, sharp and consistent throughout, complimenting every part of the production perfectly. The cast did an incredible job of syncing up with each other not only within the choreography, but within their vocal abilities. I am so impressed that Interrobang managed to find a cast that could not only act so ambitiously but sing just as well. There was a slight stuffiness to the sound, I presume this was from the use of overhead mics and is definitely something that could be resolved.

The consistency in this production is what sent it over the top. Every component of it was complimentary of another. To have such a big team that share the same unwavering vision for a piece of art is rare and it is even rarer to maintain that in execution. The entire show felt like a machine with thousands of synced up cogs turning perfectly against each other. And Somehow Interrobang Productions made it all look easy. I will be keeping an eye on their socials for what they do next. I would recommend you do as well.

4/5 Stars

“The Moro Affair”

Review by Emma McKeown