Poster for the 1988 Broadway introduction of the play
|Written by||David Mamet|
|Directed by||Gregory Mosher|
|Place premiered||Royale Theatre, New York City|
Speed-the-Plow is a 1988 play by David Mamet that is a satirical dissection of the American movie business. As stated in The Producer's Perspective, 'this is a theme Mamet would revisit in his later films Wag the Dog (1997) and State and Main (2000)'. As quoted in The Producer's Perspective, 'Jack Kroll of Newsweek described Speed-the-Plow as "another tone poem by our nation's foremost master of the language of moral epilepsy."'
The play sets its context with an epigram (not to be recited in performance) by William Makepeace Thackeray, from his novel Pendennis, contained in a frontispiece: It starts: "Which is the most reasonable, and does his duty best: he who stands aloof from the struggle of life, calmly contemplating it, or he who descends to the ground, and takes his part in the contest?" The character of Bobby Gould finds himself on both sides of this dilemma, and at times in the play he "stands aloof," and at other times he "takes part" in life's contest, with its moral strictures.
The play begins in the office of Bobby Gould, who has recently been promoted to head of production at a major Hollywood studio. His job is to find suitable scripts to bring to studio head Richard Ross to be made into big Hollywood movies. His longtime associate, Charlie Fox, has arrived with important news: movie star Doug Brown came to his house that morning interested in making a movie Fox had sent his way some time ago. Gould instantly knows to arrange a meeting with the studio head, wanting to deliver the news personally that such a big star who usually works with a different studio is keen to make a movie with them, which is sure to be a financial success.
Gould thanks Fox for bringing the project to him when he could have gone "across the street" to another studio. Fox says he is loyal to Gould on account of the many years he has worked for him. Word comes back that the studio head is flying to New York City for the day, so they will have to meet with him tomorrow, which could present a problem because Doug Brown wants an answer by 10 o'clock the next morning. Gould assures Fox that it will work out.
Fox is beside himself about the big break he has gotten, which could finally make him a player in Hollywood after years of toiling in obscurity. It could also make him rich. He requests coffee and Gould asks his secretary to get some. As they wait, Gould tells Fox about a book he has been asked to give a "courtesy read" to, meaning that it is not seriously being considered to be made into a film because the author is "an Eastern sissy writer." Gould's secretary, Karen, arrives with the coffee and the two men ebulliently chat with her about the movie business and their experiences related to it. Karen is only temporarily filling in for Gould's regular secretary and is new to the ways of Hollywood. Gould asks her to make lunch reservations for them and she leaves.
After she's gone, Fox comments on the secretary, teasing him about trying to seduce her. Fox thinks that Karen is neither a "floozy" nor an ambitious girl trying to sleep her way up the Hollywood ladder, so it would be hard for Gould to bed her. Gould thinks he can and the two make a five hundred dollar wager to that effect. Fox leaves, soon to be seeing Gould at their lunch appointment.
Karen returns to discuss the lunch reservation. Gould asks her to sit and begins to tell her about the movie business. He tells her about the book he has been giving a "courtesy read." Uncorrupted and naïve, she asks why he is so sure there is no hope for the book. Gould offers Karen a chance to take part in the process by reading the book and delivering to him her opinion of it him that night at his home. As she leaves, Gould asks her to tell Fox that "he owes me five hundred bucks."
That night at Gould's apartment, Karen delivers a glowing report on the book, a story about the apocalyptic effects of radiation. As he is seducing her, Gould speaks warmly toward her, offering to bring her under his wing at the studio. Karen says she wants to work on the film that this book is made into. Gould says that even if the book is good, it won't make a successful Hollywood movie. Karen admonishes him for simply perpetuating the standard Hollywood formula instead of taking a creative risk. When Gould protests, Karen says that she knows Gould invited her to his place in order to sleep with her and aggressively starts to seduce him into taking her to bed, and into pitching the book instead of the Doug Brown film.
The next morning Fox is back in Gould's office, excited about their upcoming meeting with the studio head. Gould surprises Fox with news that instead he is going to be pitching the Radiation book, without him. The passive Fox initially takes the news with good humor, but gradually becomes more and more aggressive. He chides Gould for preparing to throw both of their careers away by pushing a movie the studio will never agree to make. Gould says that he has been awake all night and feels the call to "do something which is right." Fox suspects that Gould spent the night with Karen and that is the reason for his delirium. Gould denies this, but an increasingly enraged Fox physically attacks him and continues his verbal assault until Gould tells him to go.
Fox agrees to leave, but only after he gets the chance to ask Karen a question. Karen enters and eventually admits to being intimate with Gould the night before. Gould and Karen continue to stand together as a team until Fox gets her to admit that she would not have slept with Gould had he not agreed to green light a movie based on the Radiation book. With this, her ambitious motives are revealed and Gould is in shock. She tries to hold on to the plans they had made, but Fox will not allow it, telling her to leave the studio lot and never come back. As she leaves, Fox throws the Radiation book out the door after her. The play ends with Gould straightened out and ready to pitch the Doug Brown film with Fox.
Origin and meaning of the title
- God spede the plow
- And send us all corne enow
- Our purpose for to mak
- At crow of cok
- Of the plwlete of Sygate
- Be mery and glade
- Wat Goodale this work mad
In George Meredith's novel The Ordeal of Richard Feverel, the young protagonist, running away from home, encounters two peasants discussing their experiences, the Tinker and Speed-the-Plow. Describing them to a relative, he says, "Next, there's a tinker and a ploughman, who think that God is always fighting with the Devil which shall command the kingdoms of the earth. The tinker's for God, and the ploughman--"
In an interview in The Chicago Tribune, Mamet explained the title as follows:
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.
Speed-the-Plow premiered on Broadway at the Royale Theatre in a production by the Lincoln Center Theater, opening on May 3, 1988 and closing on Dec 31, 1988 after 279 performances. The cast featured Joe Mantegna (Gould), Ron Silver (Fox) and Madonna (Karen). The play was nominated for a Tony Award for Best Play and Best Direction of a Play (Gregory Mosher). Silver won a Tony Award for Best Actor (Play).
The first Broadway revival of Speed-the-Plow, directed by Atlantic Theatre Company artistic director Neil Pepe, began previews at the Ethel Barrymore Theatre on October 3, 2008, with an opening on October 23 in a limited engagement, closing on February 22, 2009. The cast featured Jeremy Piven as Bobby Gould, Raúl Esparza as Charlie Fox, and Elisabeth Moss as Karen. However, Piven left the production over medical issues on December 17. The role of Bobby was played by Norbert Leo Butz (from December 23 through January 11, 2009) and William H. Macy (from January 13 through February 22, 2009). Raul Esparza was nominated for the 2009 Tony Award for Best Performance by a Leading Actor in a Play. Reviews were positive.
It has been produced countless times in regional theaters and schools across the country.
The play was presented at the Remains Theater in 1987 starring William Peterson, the Geffen Playhouse, Los Angeles, in February and March 2007. Directed by Geffen artistic director Randall Arney, the cast starred Alicia Silverstone as Karen, Greg Germann as Charlie Fox and Jon Tenney as Bobby Gould.
- In 1989, it was produced at the National Theatre, directed by Gregory Mosher, with Colin Stinton, Alfred Molina and Rebecca Pidgeon.
- In 2000, the play was produced at the New Ambassadors Theatre with Mark Strong, Kimberly Williams and playwright Patrick Marber in his stage debut, and then transferred to the Duke of York's Theatre with a new cast of Nathaniel Parker (Bobby Gould), Neil Morrissey (Fox) and Gina Bellman (Karen) and a new director, Rupert Goold.
- In 2008, it was revived at the Old Vic Theatre, starring artistic director Kevin Spacey as Fox, Jeff Goldblum as Gould, and Laura Michelle Kelly as Karen.
- In September 2014, it was performed in the West End at the Playhouse Theatre, and was directed by Lindsay Posner, with Nigel Lindsay as Fox, Richard Schiff as Gould, and Lindsay Lohan as Karen.
- In 2016, a production was produced by the Sydney Theatre Company at the Roslyn Packer Theatre. It was directed by Andrew Upton and featured Damon Herriman as Bobby, Lachy Hulme as Charlie and Rose Byrne as Karen. It ran from 8 November to 17 December 2016.
- In 2017, the production is produced by Dionysus Contemporary Theatre at the Hong Kong Academy for Performing Arts Lyric Theatre. It is directed by Olivia Yan, with the cast of Anthony Wong (Bobby Gould), Jan Lamb (Fox) and Rosa Maria Velasco (Karen), produced by Joyce Cheung. It will be the first time ever that the play has been translated into Chinese and performed in Cantonese.
According to Mel Gussow, Arthur Kopit's play Bone-the-Fish (later rewritten as Road to Nirvana) "could be regarded as Mr. Kopit's response to David Mamet's Speed-the-Plow. In fact, the plays share much more than two hyphens. Mr. Kopit asks how far a film director will go in demeaning himself in quest of work."
- The Producer's Perspective. .
- The Producer's Perspective. .
- The Chicago Tribune, February 19, 1989.
- Gans, Andrew."Jeremy Piven Abruptly Departs Broadway's Speed-the-Plow; Butz Steps In" Archived 2008-12-20 at the Wayback Machine., playbill.com, December 17, 2008
- Gans, Andrew."Macy and Butz Will Succeed Piven in Speed-the-Plow Revival", playbill.com, December 18, 2008
- "The Tony Award Nominees - TonyAwards.com - The American Theatre Wing's Tony Awards® - Official Website by IBM". TonyAwards.com. 2015-06-07. Retrieved 2016-03-02.
- Als, Hilton (3 November 2008). "The Theatre: Fever Pitch". The New Yorker. 84 (35): 116–118. Retrieved 17 April 2009.
- "Speed the Plow: the dark hollywood dilemma". PLANK Magazine. Retrieved 2016-03-02.
- Hernandez, Ernio. "Silverstone, Germann and Tenney Open in L.A. 'Speed-the-Plow' Feb. 7" Playbill, February 7, 2007
- "Stones Upends Plow at Duke of York's, 21 Aug" whatsonstage.com, July 26, 2000
- Dalglish, Darren. "Review. 'Speed the Plow'" londontheatrearchive.co.uk, July 6, 2000
- Billington, Michael."Speed-The-Plow",The Guardian, February 13, 2008
- Benedict, David. "Theater Review: ‘Speed-the-Plow’ Starring Lindsay Lohan" Variety, October 3, 2014
- Simon, John. "Beelzebubee" New York Magazine, December 18, 1989, Vol. 22, No. 50, ISSN 0028-7369, p. 105
- Bobby Gould In Hell Samuel French, ISBN 9780573692543, accessed October 25, 2015
- Gussow, Mel. Review/Theater; A 3-Day Immersion in New Plays" New York Times April 5, 1989
- Brantley, Ben. "Theater Review. Do You Speak Hollywood?" New York Times, October 24, 2008
- "'The Bridge' by David Mamet" granta.com (portion, subscription required), accessed October 25, 2015
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