David Mamet's “Speed the Plow” is a Hollywood parable, a very narrow story about greed and amorality in the movie industry. It's hysterically biting, and while not Mamet's best work, it rates high among his meanest and leanest. A solid company featuring provocative casting further helps to seal the deal.

Jeremy Piven plays Bobby Gould, the newly-promoted head of production at an unnamed Hollywood studio. A colleague and friend, Charlie Fox, played by Raul Esparza, arrives with news that a big name star approached him with a tentative deal to produce a movie. If all goes well, both Gould and Fox stand to make lots of money. And that's the bottom line.

These two who will sink to any depth for a shot at the brass ring. They would eat their young if it guaranteed success. They see themselves as whores and seem proud of it.

Then in walks Karen, Gould's secretary, a temp who professes complete ignorance about the movie business. Her naivete sparks a bet which backfires in a big way, prompting a violent outburst from Fox in the concluding scene that is the highlight of the play.

Though a strange choice of words, Mamet's writing is elegant. His economy of words, rat-a-tat rhythms and finesse with language, profane and otherwise, are by now almost a cliche. But hearing it up close is one of those singular sensations that only by provided by theater.

While all three actors are certainly skilled, none seem entirely at home in Mamet country. The two men's parts are showy and both performers are game. Piven, famous for playing a similar type on TV as Hollywood agent Ari Gold in "Entourage," tackles the role with gusto but has yet to fully master the stage. Once Raul Esparza gets revved up it's thrilling to see this marvelous actor on a tear but until then he seems to lack Fox's crudeness.

Elisabeth Moss of AMC's "Mad Men" has the toughest role as the enigmatic Karen. Underwritten, it's hard for any actress to sell this part, but she's got the stage chops, unlike her Broadway predecessor.

Of course, I'm referring to Madonna in a blatant case of stunt casting 20 years ago. Fortunately, director Neil Pepe knew to use legitimate players across the board. They're not quite up to speed just yet, but in time I'm sure they'll get there.