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Ruhrfestspiele Recklinghausen and Old Vic Production plc present

Speed the Plow

Photo by Manuel Harlan

by David Mamet

Director – Matthew Warchus

Old Vic Theatre

1 February – 26 April 2008

ary Couzens

A review by Mary Couzens for EXTRA! EXTRA!

Speed the Plow (1988), Mamet’s take on the cut-throat foibles of the Hollywood film industry focuses on the shifting power-play between newly promoted, big studio producer, Bobby Gould (Jeff Goldblum) and his long time associate, less successful freelance producer, Charlie Fox (Kevin Spacey). The two men struggle against the weight of their tandem mid-life crises and consciences (or lack thereof), one another and the system to maintain their footing in a world where the rug is quickly pulled out from under the feet of anyone who doesn’t generate enough cash for the studio.  There will be, however, no need for either of them to worry about the latter, as their cash cow has finally appeared in the guise of a guaranteed money making script for a prison ‘buddy’ movie, with a big star agreed as the lead. Into the midst of this love-hate, barb-throwing double act strolls Gould’s new temporary secretary, Karen, (Laura Michelle Kelly), who tentatively convinces Gould to green-light a film version of the eco-new-age novel she has just done a courtesy read of instead, inadvertently turning this trio on its triangular head.

Photo by Manuel Harlan

Mamet’s trademark, rapid, off the cuff, overlapping dialogue is spewed forth to blindingly great effect by Hollywood star Jeff Goldblum, (in his impressive West End debut), who, as Gould adds new levels of droll cynicism to his wry cinematic self, and an intermittently caffeine fuelled cajoling and vehemently raging Kevin Spacey as Fox.  The psychological games people play with one another are not generally demonstrated so much within the context of dialogue, as they are in physicality, but in Manet’s Hollywood satire, you get two sides of neurosis for the price of one.  Old Vic frequenters will already be aware of Spacey’s inclination to excel in both departments, however, on this outing, the actor rises above, or below his former heights, or depths, depending on how you look at it.  But either way, Olivier nominations may loom on his horizon. Having said that, seeing Spacey and his close friend Goldblum strut their stuff on the same stage is a rare opportunity to watch a pair of aces demonstrate what constitutes the making of a full house!  Goldblum gets more mileage out of one raised eye-brow than a gang of girlies could from a store full of micro-minis and Spacey is supremely funny and devilishly desperate as a near has been with one last chance to make it big. Hearing him proclaim both himself and Goldblum as Gould ‘whores’ quickly shouting afterwards that he’s ‘going to be rich’ is as close to as an intake of fresh air as you can get within the confines of an unventilated theatre space!  Thanks to their unbridled, hot-wired interchanges under Warchus’ tight directing, it’s nearly as informative as it is fun watching this dynamic duo interact before an audience, with Spacey seemingly stopping collective breathes, while Goldblum inspires smiles, then laughter as he suppresses unplanned giggles when a prop goes wrong.

Unfortunately, relative newcomer Laura Michelle Kelly doesn’t quite fill the pumps left open for her character, Karen - Gould’s allegedly hapless temporary secretary with an amateurishly (compared to the masters) hidden agenda. In one pivotal scene with Goldblum in which Kelly is required to convince him to film her favoured novel, she comes across more as the play’s ingénue, than a ruthlessly false schemer. Perhaps this is largely due to the fact that Kelly, best known for her roles as Mary Poppins and Maria, Julie Andrews’ likeable character in The Sound of Music, has been more accustomed to playing clean- cut roles in musical theatre, than sugar coated con-women in tell it like it is American plays with caustic dialogue.  Her pseudo- Californian, one-dimensional delivery tends to grate unless attention is turned to Goldblum or Spacey, both of whom command attention with their every word and movement via riveting performances.  To both Kelly and her director Warchus’ credit, however, the actress’ physicality seems appropriate to her character’s nuances, although when placed outside of the setting of Gould’s office, she is, singularly, unconvincing.

Rob Howell’s ingenious, interchanging set is, as seen in the first and third scenes, high-tech polished, as well as work in progress inspired, with decorating ladders and accoutrements set out alongside of factory fresh furnishings in Gould’s office where the play’s opening and closing action takes place.  Both of these opposing aspects are appropriate in light of the fact that Gould appears to be having an inner crisis during the course of the play, while Fox is, on the surface at least, all for laying his cards on the table.  The nocturnal, candle-lit setting for scene two sheds a softer light on things, enabling whoever is hunting (no spoilers!) to handily get captured by their game.  Thanks to the imaginative lighting of Paul Pyant, each of the ninety minute play’s three scenes begins with a short, sharp flash, mimicking paparazzi frenzies at red carpet film openings and/or unexpected scandals, immediately setting up the notion that either Gould or Fox, or both, may have been caught with their pants down somewhere along the line and if they haven’t so far, there’s a pretty good chance they will be before their numbers are up.  Intriguing, on curtain projections of aptly prophetic segments of the laughably banal, new-agey novel Karen/Kelly has courtesy read for her boss Gould, seem as though they are being typed in the moment, offering the audience something to consider while sets changes are taking place.

Fans of no holds barred dialogue and rawly realistic characterisations should welcome this double-barrelled production of ardent Pinter fan Mamet’s play, Speed the Plow.   However, anyone who appreciates relentlessly riotous, intelligently constructed writing, superb acting - squared, outstanding set design and lighting, and double edged direction will, no doubt, relish this production. 

BOX OFFICE: 0870 060 6628  www.oldvictheatre.com

The Old Vic, The Cut, London SE1 8NB
PERFORMANCES: Monday to Saturday at 7.30pm; Saturday at 2.30pm
TICKETS - £10, £15, £20, £28, £32.50, £47.50 – Concessions available – call box office

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