English playwright Jez Butterworth’s first professional play was the corker Mojo. It premiered at the Royal Court Theatre in London in 1995, when he was 26 years of age. It won the Laurence Olivier Award for Best New Comedy. Now, Almost Pisces Productions, a female founded theatre company, has reimagined it with an all-girl cast and it’s a beauty.
Mojo is set in Soho’s Atlantic Club, which is run by local gangster Ezra (who we don’t meet), during the summer of 1958. Performing at the venue is a 17-year-old rock ‘n roll protégé known as Silver Johnny (Lilla Barrington), who is in high demand. Next thing you know, Ezra has been offed and Silver Johnny has disappeared.
Ezra’s second in charge, Mickey (Ava Cameron) takes over. But there is grave disquiet among the group of small-time gangsters/employees at the club, who fear they will be next on the hit list. This is a darkly comedic offering, in which paranoia and betrayal play a significant hand. It becomes a power struggle, and you are left asking the question whether everyone will make it out of the club alive.
The shady types include besties Potts (Lily Malone) and Sweets (Lily Bartlett). Then there is Ezra’s mercenary son Baby (Emily O’Brien), who is capable of some scary stuff, and the perpetually apprehensive and picked on Skinny (Aimee Smith).
Jez Butterworth’s impetus for the play was a conversation he had about Soho and the collision between early rock ‘n roll and gangland violence. Adopting strong British accents, I was mighty impressed by the strength in the performances. The six actors do a fine job getting into character.
Among the highlights is the interplay between the two “Lilies”, whose comic timing is impressive. I also appreciated the authority and sense of calm that Ava Cameron brings to her role as Mickey. Emily O’Brien’s “unhinged” portrayal of Baby strikes a chord from her introduction. She is eminently watchable throughout. You always fear what Baby is capable of.
The production starts with a “bang”. Lilla Barrington’s gyrations and jumps to Chuck Berry’s Johnny B. Goode (released in March 1958) is attention grabbing. Aimee Smith’s persona is all about vulnerability and she channels that admirably.
The atmospherics – the sets (realised by Sasha Lea-Rowell), sound (designed by Fionn Baker Goodson) and lighting (designed by Heath Roberts) – set the tone nicely. The backdrop for Act I is an old-style wooden desk with a few chairs, a juke box and a standard lamp.
In Act II, all but the lamp are replaced by a reception desk, stools, a striking chaise couch and cushion, and two dirty metal rubbish bins, against a blue foil fringe curtain. The backdrop is a blue foil fringed curtain. The dress code (costuming) embraces “gangsta chic”.
Director Lucy King has worked hard to give us an entertaining, amusing and engaging gritty, crime thriller that pops. Two hours 20 minutes, including interval, Mojo is on at Chapel Off Chapel until 9th August, 2026.
Alex First
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.