NEW YORK -- Really more of a fierce scan in dear loyalties than a irony of Hollywood amorality, David Mamet's "Speed-the-Plow" returns to Broadway in an great redone production. Sharply humorous in conversation, the 1988 develop that opened yesterday at the Ethel Barrymore Theatre proves more filling than Mamet's comparatively lightweight farce "November," which played the same business continue season. The TV popularity acceptance factor for a well-cast Jeremy Piven ("Entourage") and Elisabeth Moss ("Mad Men") is confident to invite customers -- and both actors do well by their roles -- but the super-heated zeal of Raúl Esparza's noteworthy scene drives the show lustfully and furiously. Eyes burning with ambition, Esparza portrays Charlie, a menial mistiness exec and faithful crony of Bobby (Piven), who's just been crowned leadership of opus at their studio.
Bounding into Bobby's still-being-decorated office, Charlie lays a cumshaw at his primordial chum's feet -- an hellishly predominating star attached to a sure-fire vigour movie. Not only will this golden toss cement Bobby's studio position, it's changeless to make both friends a fortune. "We're prevalent to have to charge someone just to figure out the things we want to buy," Bobby rejoices. This budding cabbage machine contrasts with a momentous post-apocalyptic novel "by an Eastern namby-pamby writer" requiring a ceremony read before a kiss-off.
Bobby assigns the chore to Karen (Moss), a novel house temp he's unproductively thinking of bedding. Somehow Karen's overnight pillow parley compels Bobby to green-light the different rather than the blockbuster. Feeling seriously betrayed by Bobby's decision, Charlie fights to sway him otherwise.
Mamet sardonically juxtaposes Hollywood's values against the spirituality espoused by the book, but his dramaturgy positively boils down to the affair of acting in advantageous faith. Is Bobby grateful to pass art or money? Should he thrust with his trusty bud Charlie or hazard everything for newfound love with Karen? A toughened hand at Mamet's works, Atlantic Theater Company artistic captain Neil Pepe fields an assured show dominated by Esparza's strong spirit as nervy Charlie, especially so when his dramatis persona melts down into anxious rage. By turns jaunty, mystifying and shaken, Piven believably portrays Bobby as a smarty-pants unstuck by passion. Playing enigmatic Karen -- the crackpot is noticeably underwritten, peradventure with one's eyes so -- Moss exudes dark sincerity, which is as valid an overtures to as any to a doubtful role.
The play's voltage dips during its heart furor between Bobby and Karen discussing the book's gobbledygook, but Pepe slyly maneuvers his actors around each other to prevail upon viewers knowledgeable that seductions are happening. Aside from that condition spot, keep in view a smart and laughable 90 minutes composed in Mamet's trademark coalesce of blazing invective and staccato rhythms. Designer Scott Pask's suave set and Laura Bauer's insightful clobber add grade to the proceedings. In a Broadway time promising one revival after another (including Mamet's own "American Buffalo" next month), this "Speed-the-Plow" sets a grave level for the reside to surpass.
Michael Sommers may be reached at msommers@starledger.com or (212) 790-4434.
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