Mojo: West End edition (NHB Modern Plays)

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Perfect Nonsense is sometimes too strenuously ho-ho to be fall-over funny. But funny it is, and as it pulls theatrical devices to pieces it gleefully shows what theatre can do. Also what Wodehouse can do. It's studded with enviable phrases, without dully illustrating them. Goofy on the outside, gimlet within, the writer had "the sort of eye that could open an oyster at 60 paces".

Langella storms on to the stage, where Robert Innes Hopkins's simple, strong design is dominated by a tarnished throne. This not a Lear who works up to his roars. He is from the beginning a wounded lion. So much so that you fear for his howls on the heath: will there be anything left after all this might? Langella impressively dredges up more desperation, but his compelling decline is essentially from authority rather than from sanity. In losing power he loses one sense of himself rather than all sense of himself. The exceptional lucidity of the production brings a limitation. The play is no longer an expression of madness, a thing made up of fragments, a disaster zone of terrible episodes. As a slang word, mojo has a few different but related meanings. It can mean a magic talisman, personal magnetism and even the magical power to get things done. As the day wears on, people begin to gather outside the club waiting for the doors to open, oblivious to the situation. Sweating it out inside, the small group of four have to break the tragic news of Ezra's grisly death to Baby, who takes the news in a dreamlike, distant manner. Uneasy about Baby's mental stability, the Atlantic gang begins to become restless - especially about their catering. Arguments break out over frivolous matters (Skinny's Uncle Tommy), and the group finally settles to consider just what its rivals are doing at that very moment.And when it’s time for his warped, auto-tuned chop to come in, it’s placed centre-stage with a level of articulacy and dynamic discernment the Cambridge can’t quite match. That insight extends to the low end, with heft anchoring the tuneful bassline. The new cast members are united in their admiration of the writing. "It's been quite hard mastering those rhythms," says Grint. "There's lots of bouncing off one another, and it's so fast-paced and charged. But it's a lot of fun." Disconnected from the Mojo, the Poly is about the size of a typical vintage cigarette lighter. When the two are attached, their combined size is closer to that of a small hipflask. While streaming over AirPlay and Bluetooth (from a combination of Apple’s iPad, Apple MacBook Air and the LG G6 smartphone) isn’t quite as precise, open or transparent, expectations are well met. Jez was 24 when he wrote it," exclaims Mays incredulously. "It's got that unapologetic rawness to it: it's someone pouring out their talent. It's fearless."

The characters of Mojo are portrayed as primarily ruthless, occasionally bumbling, sometimes underestimated, often high and even capable of murder. EzraPlay Creators Awards: This relaxed, fun evening will celebrate the recent stellar achievements of both inventors and in-house R&D teams across a raft of categories. The show begins at the Harold Pinter Theatre 26th October and runs until the 25th January 2014. Child Friendly In terms of musical matrimony, the Poly and Mojo could be gearing up for their Silver anniversary. Sonically, this is a match made in hi-fi heaven. While set-up has undeniably improved, usability is still more laborious than it could be with one does-it-all app. Still, that niggle seems much less significant once the pairing is let loose with your music library. Mojo Nation has dated this year’s Play Creators Festival, a three-day event spanning conferences, pitching sessions and awards.