DIRECTOR BRINGS HER MOJO TO REP

F. J. Hartland 

           Director Kim Martin brings her magic to MOJO, the current production by the Pittsburgh Repertory Theatre.

            Written by Jez Butterworth, Martin makes MOJO a fast-paced and highly entertaining production.  While the script is sometimes confusing, there is never a dull moment.  Also, Martin utilizes the multi-level set to create stage pictures that are always visually interesting.

            Martin is assisted by a stellar cast.

            Michael Fuller as “Potts” and Sam Turich as “Sweets” play a pair of n’er-do-well cohorts.  They bring much of the comic relief to MOJO.  Also, they engage in sections of rapid-fire machine gun patter and never miss a beat.  Many of these exchanges are when they go off on tangents about such things as cake or “Uncle Tommy.”  Fuller and Turich are hilariously funny and have great chemistry.

            Adding great support are Philip Winters as “Mickey” and Gregory Johnstone as “Skinny.”  Winters is perfect as the weak club owner; Johnstone gives his best performance that I have seen as the whipping boy.

            Amadeo Fusca has the small—but pivotal role—of “Silver Johnny.”  Much talked about, but rarely seen, the play centers on the singer “Silver Johnny” and Fusca does a fine job.

            But at the center of the play is the dynamic and chilling performance of Dave Droxler as “Baby.”  Like a snake, “Baby” is both hypnotically seductively and terrifying.  Droxler gives a multi-layered performance—sometimes a hurt child, sometimes a sexy sado-masochist.   It is the perfect portrait of a socio-path.  If you see MOJO for no other reason, see it for Droxler’s stunning characterization.

            Scenic designer Michael Thomas Essad has created a gritty and detailed version of a grimy second-rate British nightclub.  It also is able to transform smoothly in another area of the club for Act Two.  (And hats off to the hard-working stage crew who make those changes during the intermission).

            Lighting by Andrew David Ostrowski was—as always—on the mark.  Cathleen Crocker-Perry has created costumes that perfectly capture the early rock-n-roll era of the late 1950’s.  And the shoes are amazing!  (And I think this is the first time I’ve ever written about shoes in a review—but that’s how great this footwear is).

            MOJO centers on an upcoming British rival to Elvis; that is, until a murder disrupts the plan.  I don’t think it’s an especially good script, but Martin (along with her cast and crew) give us a production well-worth seeing.

            MOJO continues at the Studio Theatre of the Pittsburgh Playhouse through June 14.  For tickets, call 412-621-4445.