Washington City Paper ". . . Keegan Theatre’s fast, funny, and energetic production will likely win you over. Dinolfo and Innocenti are playing very young boys who evince a wide-eyed understanding of the world, but they’re both disciplined actors and keep the evening sugar-free. . . The real treat is watching Dinolfo and Innocenti tackle the world that hovers around the boys, rotating through a diverse cast of characters. . . Both actors have fun with this variety show, but Dinolfo is particularly deft and economical; he doesn’t so much shift into a different persona as click firmly into place. It’s a thing to see: I found myself thrilling to a particular tilt of the actor’s head, because noticing it meant knowing that Mickybo’s mother-the play’s go-to laugh-getter-was about to speak again." Reviewed by Glen Weldon READ MORE

The Washington Post ’Style’ ". . . The narrative ingenuity is often impressive, and it certainly gives the actors a ton to do. Not only are Christopher Dinolfo and Michael Innocenti called on to be preadolescent Mojo and Mickybo, but they double and triple as parents, rivals and various town extras. Three-way conversations are entirely plausible in this milieu, thanks to Eric Lucas’s zippy, utterly clear staging . . . Dinolfo and Innocenti are sprightly partners, dressed in matching dark sneakers, jeans and T-shirts and acting at a sprint, the Irish verbiage treppin’ off ther tongues faster than a Guinness man late for a delivery"  Reviewed by Nelson Pressley READ MORE

The Washington Post ’VA Weekly’ ". . . McCafferty has provided a joyous romp through youthful freedom that director Eric Lucas and his two actors engagingly bring to life . . . Christopher Dinolfo (Mojo) and Michael Innocenti (Mickybo . . . turn in remarkably nuanced performances that alternate between sensitive character studies of two irrepressible boys and quick but vivid impressions of more than a dozen characters . . . Each handles the Belfast dialect with skill. . . Dinolfo and Innocenti are warm and playful . . . At times, the actors switch so quickly between the lads and the other characters that it seems as if the small, mostly barren stage is packed with people. The energy level is so high and consistent that Lucas must have been as tough as a drill sergeant during rehearsal . . . Dinolfo and Innocenti never seem rushed, evincing the relaxation of youngsters who think they have all the time in the world. . . The experience of the play is charming but meaningful." Reviewed by Micahel Toscano READ MORE

Potomac Stages ". . . The seventy minutes fly by. . .Director Eric Lucas keeps adjusting that pace . . .But it is always fast enough to keep the tempo impressive and the energy level high. Part of the reason the pace seems so right is that moments of movement punctuate explosions of dialogue, giving you time to translate the Irish street vocabulary into meaning without any apparent pause. Through it all, the focus on the progression of the boys’ tale is clear and precise. This is directing that is worthy of study.The performers, Dinolfo and Innocenti, mesh so well that it is difficult to discuss their individual contributions to the piece. If Mojo and Mickybo are "Mojo Mickybo" then Dinolfo and Innocenti are "Dinolfo Innocenti." . . . The script gives them the material and they run with it - literally!" Reviewed by Brad Hathaway READ MORE

DC Theatre Reviews ". . . Hey, if you like good theater, delivered explosively by excellent actors, do yourself a favor and go to the Theatre on the Run in Arlington. Buy yourself a ticket to Owen McCafferty’s Mojo Mickeybo, plunk yourself down in one of the comfortable seats, and just watch. . . Dinolfo and Innocenti populate a municipality of characters, and I must tell you that they do it with such speed, skill and authenticity that ten minutes into the play the addition of another actor is unthinkable. Innocenti establishes such specifically realized characters (particularly his women) with such a minimum of fuss and bother that he recalls a younger version of Jefferson Mays, the Tony-Award winning star of I Am My Own Wife. . . [Dinolfo] establishes an exceptionally strong narrative voice not only as Mojo but as Mickeybo’s parents and the busman as well. This is rapid, slam-bang stuff, and Eric Lucas has obviously worked his actors hard, as a good director must. The playful, minimalist set, which Lucas designed with his wife, Kerry, provides the additional benefit of allowing Dinolfo and Innocenti to race around the stage without interference from set pieces. . . Mojo Mickeybo is an opportunity to see a play not once but many times - initially, at Theatre on the Run, and thereafter, at every quiet moment you reflect upon what Mark Twain called, accurately, "the damned human race." Reviewed by Tim Treanor READ MORE

Arlington Sun Gazette "Creativity Stands Out. . . Playwright Owen McCafferty knows of what he speaks, having grown up in Northern Ireland during the period. And the play that results gives the two main characters a chance to show their versatility during an energetic production. Christopher Dinolfo and Michael Innocenti . . . use great mimicking skills to portray a host of neighborhood characters. . . It is a physical production, with the two actors in constant motion around the stage. But the focus remains on the use of language to paint a picture of a friendship that, given the period, is doomed to destruction. . . Director Eric Lucas’s work is creative and taut. A good night out." Reviewed by Scott McCafferty READ MORE