Complicated comedy fails due to poor casting

Jbrokaw@unm.edu

Though never completely boring, the Vortex Theatre’s production of “Speed-the-Plow” is a disappointment, failing to reach the dizzying heights of comedic potential in David Mamet’s outstanding script.

Mamet, one of the most treasured playwrights in the American theatrical repertoire, often writes complicated, male-dominated dramas, such as “Glengarry Glen Ross,” “American Buffalo” or “Oleanna.” But “Speed-the-Plow,” one of his most enduring plays, is a comedy devoted to portraying how Hollywood big-shots make movies against incredible odds.

“Speed-the-Plow” introduces two movie producers, Charlie Fox and his boss, Bobby Gould, who have climbed the ranks of their industry together. The play’s plot is simple. Gould falls for his temporary secretary, Karen, who convinces him to make a movie based on an unwieldy, philosophical book about radiation and decay. When Gould agrees, his old partner Fox reminds him their job isn’t to make “good” movies — they must make movies that will turn a profit.

“Speed-The-Plow” isn’t a drama designed to change lives or enlighten the audience. It is a viciously funny story of two unrepentant, charming narcissists who make movies.

Unfortunately, the two actors who play Fox and Gould leave much to be desired. Marc Comstock as Gould never finds the confidence or authority that should be second nature to a Hollywood executive.

Though Fox is written as an instant-gratification fiend with a weakness for caffeine and cocaine, Aaron Worley makes the character seem strangely relaxed. Both Worley and Comstock struggle to own Mamet’s unique language, taking far too much time with it. Their dialogue drags when it needs to snap.

Fox and Gould are a theatrical double act, a pair of mischievous and amoral characters whose similarities and disparities define each other. Unfortunately, the two actors lack the necessary energy or chemistry to make their scenes soar and “Speed-the-Plow” suffers for it.

Julia Harris, who plays Karen, lends her character an honest naïveté. However, Harris misses the opportunity to make Karen ambiguous and even mysterious. As written by Mamet, Karen is a fascinating woman, a character who knows exactly what she wants and is willing to manipulate others to get it. But Harris’ portrayal of Karen seems entirely innocent, even when the playwright suggests otherwise.

Though Hollywood has hardly changed its ways since Mamet first wrote “Speed-the-Plow,” director Harry Zimmerman decided on a distinctly period production and set the play in the ‘80s. This decision has somewhat mixed success. Gould’s half-painted office, the main setting, never feels genuine, but the costumes designed by Kathy Gomez are well chosen and help create the world of ‘80s Hollywood. The set itself is arranged in an awkward thrust, surrounded by an audience on three sides, that doesn’t seem to serve any purpose.

The Vortex’s “Speed-the-Plow” is ultimately a let-down. The lead performances simply aren’t good enough, and a play that should be an effortless joy to watch feels more like a chore.

“Speed-the-Plow”
by David Mamet
Directed by Harry Zimmerman
The Vortex Theatre
2004 ½ Central Ave. S.E.
vortexabq.org
Runs through May 20
Friday and Saturday 7:30 p.m., Sunday. 2 p.m.
$15