A play by Jez Butterworth
Ian Rickson, Director

Royal Court Theatre
July 14 - August 12, 1995

Cast
Matt Bardock
Aidan Gillen
Tom Hollander
Johnny Hans Matheson
Andy Serkis
David Westhead

Mojo

Reviews:

Rock, revenge and deadly funny business in Soho;
Mojo The Royal Court

By Nicholas De Jongh
Evening Standard (London)
July 19, 1995

"YOU would hardly guess from his bored expression that the young man raising the lids on two dustbins has just confirmed that both contain the severed corpse of his Soho, club-owning daddy.... ...Tom Hollander's chillingly comic performance as the conscienceless Baby, who never betrays a flicker of emotion, makes the smiles freeze upon your lips...”

Jez gets his 'Mojo' working - Theatre
By Ian Shuttleworth
Financial Times (London,England)
July 20, 1995

“...But the dark heart of the play is Ezra's son Baby, supplanted in his father's business and sexual affections by Silver Johnny. Tom Hollander veers terrifically in an instant from strutting his seductive stuff to murderous frenzy, as Baby's unpredictable combination of suicidal foolhardiness and native cunning gradually wrests control of the situation...."


Adventures in Krayland
By Benedict Nightingale
The Times
July 20, 1995

“...Baby... is Butterworth's most striking creation, and finely played by Tom Hollander. At first he seems a sort of layabout psychotic or paranoid couch-potato, who gets his kicks by tying up his father's factotum, Aidan Gillen's Skinny Luke, and menacing him with a cutlass.

But the lazy nasal drone hides someone as determined as any demented Renaissance prince to inherit his little dukedom. In his laid-back way, he proves adept with cleaver, pulleys and, finally, a shooter that leaves his victim, whose sin appears to be boring and irritating him, howling ''you've made my teeth go wiggly, you've covered my new trousers in blood...”

This Mojo works good; Theatre
By Michael Church
The Independent (London)
July 23, 1995

“...all the parts in this play are rich with interest and, under Ian Rickson's direction, acted with superb accomplishment. In the central role as the owner's baby-faced son, Tom Hollander brings out his character's strange mix: one minute discoursing on the beauties of the countryside, the next minute shooting a man who irritates him. This pint-sized virtuoso has an absolutely Protean talent: he was the winsome Celia in Cheek by Jowl's all-male As You Like It, and the satanic Macheath in the Donmar Threepenny Opera. His performance here suggests the compulsive sadism of a once battered child. Mojo isn't perfect, but it's a nudgingly clever piece, and by a mile the sharpest show in town. But it's still a romp for the boys. Can Butterworth create a female character? We wait with interest.

John Lyttle The Business
The Independent (London)
August 5, 1995

“The reviews have been somewhat contradictory and that all-important word-of-mouth is equally contradictory (as many punters hate it as love it), but that hasn't stopped an impressive array of directors, producers and actors from trooping along to London's Royal Court theatre to see Jez Butterworth's Mojo, a study of paranoia, murder, speed and rock 'n' roll that may be the most purely exciting evening's entertainment in town.

If Butterworth is currently the hot name to drop ("The best dialogue ever, don't you think?" sighed the woman behind me), then make room also for Tom Hollander, whose performance as the sexually abused, cutlass-twirling Baby should have him being wooed by every casting director worth their salt....”
_________________________________

Mojo; 10th Anniversary Reading
by Jez Butterworth
(part of “LOOK BACK: 50 READINGS, 50 WRITERS, 50 YEARS”)
Performed March 14, 2006
Royal Court Theatre (JERWOOD THEATRE UPSTAIRS)



“...After reading hundreds of plays we have chosen fifty writers who cumulatively chart the evolution of the Royal Court, while also holding a mirror up to their own era. The list of fifty featured plays is not intended to be definitive, but a sample selection of over 850 new plays the Royal Court has originated.... Where possible the original company of actors and directors will be invited back to reprise their roles. There will also be a chance to talk with the playwright following some of the readings and opportunities to meet the original creative teams.”



 

 

 

 

   
 

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