The Grad Voice

In business school, we are taught that a successful company is one that is profitable. Likewise, in Hollywood, a film must have high sales at the box office in order to be considered triumphant. The more money that is made, the more probable it is that a slew of copycat movies will follow in hopes of repeating its financial success. Needless to say, many filmmakers become frustrated with this mentality and disillusioned about the industry in general. In 1988, David Mamet wrote a play titled "Speed-the-Plow" addressing this issue. The original cast consisted of Joe Montegna and Ron Silver, as well as Madonna in her Broadway debut. A 20th-anniversary revival is now playing on Broadway until February 22, 2009, starring Jeremy Piven, Raul Esparza, and Elisabeth Moss.

The story centers on Bobby Gould, a recently promoted film executive, and his underling Charlie Fox. In Act 1, they meet in Bobby's office to discuss a prison movie that they intend to produce. It has a predictable plot and a "bankable" star attached. A temp named Karen arrives and proves to be a distraction. Bobby asks her to read a book for him and give him a report at his home that evening. What she doesn't know is that he's hoping to win a $500 bet with Charlie that he'll get her into bed. The next act takes place at Bobby's home, where Karen expresses such passionate feeling for the book (a bewildering non-commercial piece about radiation and the end of the world) that Bobby agrees to make it into a film. During the final act, Bobby reunites with Charlie in his office to inform him of the change in plans. Without giving too much away, I can say that there are a few surprises in store for the audience. Both Bobby and Karen make unexpected decisions, while Charlie hangs stubbornly to his goal of making a surefire blockbuster.

When the cast was announced, many news sources noted that Jeremy Piven also plays a Hollywood executive, agent Ari Gold, on HBO's "Entourage," while Elisabeth Moss plays secretary-turned-copywriter Peggy Olson on AMC's "Mad Men." It was suggested that both were typecast, but their "Speed-the-Plow" characters are not as close to their television counterparts as one might assume. As an agent, Ari Gold always takes the most lucrative deal to maximize his ten percent share. He would have undoubtedly grabbed the prison movie without a moment's hesitation, and taken a break in the tanning bed before returning to his office. Ari wouldn't have bothered to complain about the piles of repetitive screenplays on his desk, because he would have no desire to take on a risky project that might not pay off financially. In fact, viewers of "Entourage" may recall that Ari has always discouraged his client Vince from taking any "artsy" roles. He consistently confirms that his primary professional goal is to make as much money as possible. On the other hand, Bobby Gould clearly has doubts about himself and the validity of his profession. In the first act, he and Charlie Fox excitedly discuss the wealth they hope to acquire shortly, but at the same time appear to be disgusted with themselves for selling their souls to Hollywood. He is also somewhat indecisive, and is easily influenced by both Charlie and Karen at various times. As for Karen, she is rather quiet upon her introduction and later becomes bolder and pushier. "Mad Men" fans will see some similarities between her and Peggy Olson. However, Karen is even more mysterious and harder to read than Peggy ever was, while being so insistent of her own naiveté that it arouses suspicion.

According to a 1989 interview with the Chicago Tribune, playwright David Mamet chose the title on the basis of an old expression: "I remembered the saying that you see on a lot of old plates and mugs: 'Industry produces wealth, God speed the plow.' This, I knew, was a play about work and about the end of the world, so 'Speed-the-Plow' was perfect because not only did it mean work, it meant having to plow under and start over again." In a more recent New York Times article1, Mamet further elucidates the themes of this play. He categorizes it as a "Workplace Drama," a subgenre in which "the stakes are…the fate of the individual under a certain set of occupational circumstances." He goes on to state that in drama, "the individual is forced to make a moral choice." The choice is always between two evils, since in a choice between good and evil it would be too obviously immoral to reject the good.

I had the chance to see the play in previews, and it seemed like the production had already opened. The theater was packed with enthusiastic people who laughed and applauded throughout the performance. At one point, a doorknob from the office set fell off in Ezparza's hand and all three cast members played along so well that for a second I actually thought it was part of the script (until extended laughter from the audience tipped me off). Other than that, there were no easily discernible glitches. There were several propitious lines that prompted laughter and cheers from the audience. A few coincidentally involved use of the word "maverick," as mentioned in many reviews. Another one was equally prophetic, but less humorous - while scanning the perplexing radiation book, Gould reads "the economy will collapse." The audience was understandably less enthusiastic about that one, appearing to laugh and cringe at the same time. Throughout the play there is plenty of humor and lots of memorable dialogue. Gould dispenses show business wisdom such as "there is no net [profit]," something those of us who have taken Entertainment Marketing learned from Professor Lieberman. Advice from Fox includes the admonition that a film must be describable in one sentence, for the requisite inclusion in TV Guide. The three actors do a great job with the material. Piven and Esparza have the familiarity of long-term colleagues, while Moss is easily believable as a Hollywood outsider. They all give outstanding performances and play off each other reactions well. Overall, I would highly recommend this production.

For a very entertaining ninety minutes, check out "Speed-the-Plow" on Broadway. For more information and to order tickets, go to www.speedtheplowonbroadway.com.

Note
1. Mamet, David. "Drama That Brings Home the Bacon," The New York Times, September 7, 2008

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