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What a relief – the old David Mamet is back. Scatological, scabrous and lacerating, the playwright's 1988 Speed-the-Plow returned to Broadway last night in an electrifying production directed by Neil Pepe (who runs the Atlantic Theater Company co-founded by the playwright), and starring three performers at the top of their game.

"Plow" takes audiences on an 80-minute rollercoaster ride through the events of one day in Hollywood. Bobby Gould (Jeremy Piven) is the new head of production at a major studio and Charlie Fox (Raul Esparza), his long-time colleague – friend would be too presumptive a word – hopes to capitalize on Bobby's new found power. As the play opens, Charlie bursts into Bobby's office (one of two immaculately conceived sets from designer Scott Pask), announcing that he's gotten a hot star to agree to appear in a prison buddy flick. The star's even willing to "cross the street" to make the movie at Bobby's studio. There's one catch: Charlie has to have the deal green-lighted by the following morning.

Bobby's enthusiastic and instantly on the phone to his boss (who's one speed-dial away, of course), who agrees to a meeting. The men are jubilant and all looks as if these two amoral purveyors of the commodity known as "cinema" will be well on their way to schlock Hollywood greatness, until another property comes into the picture. It's a book about radiation and the end of the world that Bobby's boss has agreed to read. It's been passed down to Bobby, who passes it on to Karen (Elisabeth Moss), the earnest young temp secretary who's working for him. Even though he is certain he will never turn the book, "The Bridge: or Radiation and the Half Life of Society. A Study of Decay,” into any sort of film, he believes that this his seeming interest in her opinions will help him bed her, and thus win a bet with Charlie.

Bobby's plan, however, goes somewhat awry when Karen comes to his home (Pask's second terrific contribution that's lit marvelously and eerily by Brian MacDevitt both during the scene and the terrifically cinematic changeover that precedes and follows it) and begins trying to convince him that he should indeed make a movie that will mean something. In this world where the execs are supposed to "...make the thing that everyone made last year. Make the image that people want to see," Karen's support of this book by an "Eastern Sissy Writer" is tantamount to heresy. It also throws a wrench – big-time – into Charlie's plans.

Mamet's sometimes hilarious and sometimes venom-filled dialogue comes fast and furious and he damns not only the studio executives responsible for foisting tripe onto the movie-going public, he also condemns ticket buyers. At the same time, "Plow" aspires to, and succeeds in, painting a portrait of hope amid near hopelessness that seems pungently timely, particularly with the script's frequent use of the word "maverick."

Pepe's production serves up story and language with aplomb, and the three performers bring exquisite nuance to Mamet's simultaneously richly and crudely drawn characters. Piven imbues Bobby with a natural sensitivity that seems at odds with his cut-throat exterior. A flash of Piven's gleaming smile may make you think he's just the boy next door, but it's the smile of a friendly shark. Esparza, whose volcanic performances elsewhere seem to make him a natural for Mamet, revels in Charlie's crassness, anger, and ultimately desperation. But his work is never over-the-top, simply a carefully crafted and beautifully timed portrayal of a man hell-bent on succeeding. As the naïf caught between these two men, Moss (best known for her work on television's "Mad Men") delivers an utterly captivating performance that exudes natural ease and poise. Karen's earnestness, and her belief in loftier things than buddy movies, actually charms. Perhaps most important, during a critical turn of events late in the play, Moss succeeds in infusing the piece with an exceptionally gratifying level of ambiguity.

In just a few weeks, theatergoers will have the opportunity to sample a revival of another Mamet play: American Buffalo. Pepe and company have set the bar exceedingly high for this season's unofficial, and very welcome, Mamet Festival on Broadway.

---- Andy Propst

Speed-the-Plow plays at the Ethel Barrymore Theatre (243 West 47th Street). Performances are Tuesday at 7pm; Wednesday at 2 and 8pm; Thursday and Friday at 8pm; Saturday at 2 and 8pm; and Sunday at 3pm. Tickets are $49.50 - $110.50 and can be purchased by calling 212-239-6200 or by visiting www.telecharge.com. Further information is available online at: www.SpeedThePlowOnBroadway.com