Review: Speed the Plow

Raul Esparza and Jeremy Bliven. Photo by Brigitte Lacomb
Rolling Dialogue Flattens the Plot
By Lauren Yarger
Does it really take 90 minutes to figure out that people will take advantage of you and will stop at nothing to succeed? Not for most of us, but since playwright David Mamet needs some sort of basic plot around which to drive his signature rapid-fire, humor-filled, ping pong dialogue, getting to the top in the dog-eat-dog world of the Hollywood film industry serves the purpose in Speed the Plow at the Ethel Barrymore Theater. Add to this strong performances from the TV star power of Jeremy Piven (Entourage), Raul Esparza (Pushing Daisies) and Elisabeth Moss (Mad Men) and you have a popular, if not very deep play.

Piven plays Bobby Gould who somehow is unaware that his temporary secretary, Karen (Moss), sleeps with him just so he’ll green light her depressing and unlikely movie project about radiation ending the world. Gould’s longtime friend and producing colleague Charlie Fox (Esparza) sees through her and fights feelings of betrayal (his career-making project gets dumped in favor of Karen’s) to remain loyal and help his friend wake up to what’s happening. He easily gets Karen to reveal her motivation (why someone devious enough to use sex to get ahead would admit this is a mystery) and somehow that admission opens Gould’s eyes to the fact that everyone wants power and no one is immune. The two friends go back to making movies together leaving a bewildered Karen wondering how she blew it. Translation: we’re out of snappy dialogue; time to end the play.

Neil Pepe directs strong performances, however, with many of the funniest moments coming from movement – a dramatic throwing away of a script – or the intonation in a voice, as much as from the witty dialogue itself. Esparza shines as the caffeine-hyper, nicotine driven Fox who’s afraid to believe he might finally be on the brink of success. His rapport with Piven is easy and the dialogue bounces, although Piven does appear to get lost from time to time in the long and quick-paced banter. Moss is effective as the seemingly naïve, but manipulative Karen. Her presence, evoking memories of her role as Zoey, daughter of the underdog, come-from-behind Democratic president on The West Wing, along with lines about “mavericks” give the show a present-day feel despite having been written 20 years before the recent presidential election.

Scott Pask’s set turns (literally) from an office into Gould’s apartment, aided by a nice flickering movie projector effect (Brian MacDevitt).

“Speed the plow” comes from a phrase in a 15th century song wishing success and prosperity on hardworking farmers. It fits the play well, as the theme is about working hard, then plowing everything under and starting again. And that’s about as much plot as you’ll find while enjoying the banter.

Christians might also want to know:
• Language throughout
• Sexual gestures