"Speed-the-Plow" accelerates onstage

Entering Hepburn Zoo, the audience finds the scene set up in a manner that looks like something ripped right out of an episode of Mad Men, liquor shelves and all, as the eternally familiar voice of Frank Sinatra fills the room. The lights dim, and the audience prepares themselves, because once Speed-The-Plow begins, the brakes are off on Willy McKay’s ’11 senior 700 work.

Speed-The-Plow, originally written by David Mamet, tells the story of Bobby Gould, played by McKay, who is living the dream. Gould finds himself as the head of production of a large film studio and openly enjoys the various perks that come with such a lifestyle. His long time friend, Charlie Fox (Dustin Schwartz ’11, who collaborated on this play for his 700 work), brings in a film opportunity that is going to make them rich(er). Gould, remembering Fox’s years of loyalty, thanks him by promising  him the title of co-producer of the project.

The main conflict arises when Karen (Shannon Fiedler ’14), Gould’s temporary secretary, uses her womanly charm to seduce and convince Gould to produce the film she wants. However, Gould can only make one film pitch, and of course, drama ensues.

According to Schwartz, he and McKay chose this play because, “We think it’s a very hard-nosed, really tough play. Really down-to-earth but at the same time, its not just natural. There is a lot of deep depravity but humor in it as well. It’s dark, funny and something that people can enjoy.”

McKay felt a connection to Mamet’s play after reading it for a class. He is also currently writing his thesis about it.

“There are some interesting literary elements to the play,” McKay said, “that probably don’t come across in performance but are still interesting to me.”

The play is performed almost exactly according to the original script, except for one change, in which Karen goes to Gould’s home as opposed to his office to pitch the book for the film she desires. This was a decision based on the fact that Schwartz and McKay only wanted to use one set — Gould’s office.

“I think this is kind of good because my character is the kind of guy that would sleep with a girl on the couch in his office, as opposed to taking her home,” McKay commented.

McKay and Schwartz have an amazing chemistry together onstage, as they mock each other and discuss their own depravity, which they have accepted and even embraced. The way they treat each other reveals how many layers there are to their relationship. They started together, then slowly moved up the food chain together, creating a brotherly bond, as well as a rivalry that usually accompanies such a relationship.

Fiedler also controls the scene when she discusses why Gould should choose the film of her liking, an adaptation of a novel about the end of the world (as well as the end of the human spirit). She seduces the audience right along with Gould, giving a very convincing and entertaining performance.

One thing that stood out to me was how well the Hollywood lifestyle came out of the characters. In one particular scene, Gould, distressed by the fact that he is going to tell Fox he will not be picking his film, takes out a plastic baggie of cocaine and proceeds to set up a line on his desk using one of his credit cards. Fox continues to speak to him, completely unfazed by Gould’s behavior. By making actions such as these seem like afterthoughts as opposed to the center of the action and the audience’s attention, it makes the entire situation much more believable. The fact that the show had no intermission also played well with the speed of the dialogue and how quickly characters had to make important judgment calls about one another.

Overall the show was a powerful display of emotion and friendship as well as the depravity that lies within the American Dream. As McKay says in the “notes” section of the playbill: “Rome is burning. I invite you to sit back and enjoy our fiddling.”