"Mojo" by Jez Butterworth: A Dark Comedy Set in 1950s London

Overview of Jez Butterworth's Play "Mojo"

Jez Butterworth's "Mojo" is a compelling play set in the late 1950s, specifically in the seedy underbelly of Soho, London. Premiering in 1995 at The Royal Court Theatre, the play captures the zeitgeist of the rock 'n roll era through the lens of a dark comedy. It centers on the character Silver Johnny, an up-and-coming rock star, and the power struggle between two gang leaders, Ezra and Sam Ross, who vie for control over him and the nightclub where he performs. The play's dark humor is evident as it deals with serious themes such as drug abuse, power struggles, and violence with a comedic undertone.

The Etymology and Meanings of "Mojo"

The word "mojo" has a rich history and multiple meanings, often associated with magic, allure, and personal influence. Its origins can be traced to the Fulɓe language of West Africa, where "moco'o" described a 'medicine man'. The term evolved into "mojo" and became popular in the African American community, particularly among musicians in the 1920s jazz scene. It has been referenced in various musical genres, including blues and rock, with artists like Preston ‘Red’ Forrester and Jim Morrison incorporating it into their lyrics. In modern vernacular, "mojo" is commonly used to denote one's self-confidence or sex appeal, with expressions such as "losing one's mojo" or "getting one's mojo back" indicating a change in one's personal dynamism or charm.

Synopsis of "Mojo"

Set in 1958, "Mojo" unfolds over two acts within the claustrophobic setting of The Atlantic nightclub. The story begins with a secret meeting between the club's owner, Ezra, and a rival gang leader, Sam Ross. Meanwhile, Ezra's employees, Sweets and Potts, are high on amphetamines, discussing the meeting's potential outcomes. Baby, Ezra's son, exhibits signs of psychological disturbance and mistreatment, particularly in his interactions with Skinny, another gang member. The narrative escalates when Ezra's mutilated body is found, and Silver Johnny goes missing. The gang members, fearing for their lives, lock themselves inside the club, arming themselves with makeshift weapons. As the situation intensifies, Baby's manipulative and violent nature becomes apparent, leading to a dramatic shift in the gang's hierarchy.

Character Dynamics in "Mojo"

"Mojo" features an all-male cast, each character deeply embedded in the grim realities of nightclubs, drugs, and gang warfare. Their interactions are laced with profanity and treachery, and the threat of violence looms large. Silver Johnny is the only character with a talent outside of the gang's activities, making him a valuable asset in the eyes of others. Baby, in particular, is a multifaceted character who, despite being abused and underestimated, demonstrates a disturbing propensity for dominance and violence. The dynamics between characters like Mickey, who betrays the gang, and Skinny, whose fate is sealed by the play's end, underscore themes of loyalty, ambition, and the pursuit of power.

The Significance of Baby's Monologue in "Mojo"

A pivotal moment in "Mojo" is Baby's monologue, which occurs in the second act. Through this monologue, Baby recounts a haunting memory of a trip with his father, Ezra, revealing the dysfunctional nature of their relationship. Initially fearing for his life, Baby describes how his father instead commits an act of animal cruelty for profit. The monologue is interspersed with lyrics from The Coasters' song "Yakety Yak," juxtaposing Baby's traumatic experiences with the more typical interactions between parents and children suggested by the song. This monologue is crucial for understanding Baby's complex character and his subsequent actions within the narrative.

"Mojo" as a Reflection of Dark Comedy and Cultural Influence

"Mojo" exemplifies the genre of dark comedy, using humor to explore serious and often taboo subjects. The play is also a cultural artifact of the 1950s, capturing the essence of the rock 'n roll era and its associated lifestyle. Its depiction of crime and rapid narrative progression bear similarities to the gangster films of the late 1990s by Guy Ritchie, such as "Lock, Stock and Two Smoking Barrels" and "Snatch." These films, like "Mojo," combine a fast-paced plot with a darkly comedic view of the criminal underworld, demonstrating the lasting impact of Butterworth's work on British cinema and popular culture.