Pet Brick Powerhouse

THE WATER ENGINE

written by David Mamet

directed by Stephen Benson

Through October 1

Pet Brick Productions

Tremont Theatre

written by David Mamet

directed by Stephen Benson

Through October 1

Pet Brick Productions

Tremont Theatre

David Mamet's The Water Engine, set against the backdrop of the 1933-1934 Chicago World's Fair, depicts one man's struggle to patent his invention and reveal it to the world. The struggle belongs to Charles Lang, who, along with his secret invention (an engine that runs on water), is exploited by corporate mongers whose smooth promises conceal the destructive forces of a society hungry for cash and willing to do anything to get it. The voice of the chain letter throughout the play keeps the audience guessing as to the implications of people, fate and science not only for the characters, but for the nation as well.

The Water Engine provides the same themes of despair, exploitation, and corporate greed as are found in other Mamet productions such as the Pulitzer Prize-winning Glengarry Glen Ross. But don't expect strict realism, or the rapid-fire tough talk for which Mamet is known. Mamet originally wrote the play in 1976 as a radio play for National Public Radio, not for the stage. But director Stephen Benson, making his debut with the Pet Brick Players, takes up the challenge. The set - a radio studio, fitted with old-fashioned microphones - bolsters the theme of communication stressed throughout the piece and also provides audiences with a glimpse of the secrets of studio production. As the onstage Foley artist, Paul Barrett nearly steals the scene with his sharpness and dexterity, using anything from tin cans to a wooden board to create live sound effects for the unfolding drama.

Although distracting and somewhat artificial by nature, the initial studio setup provides the audience with a unique opportunity to watch both the 'actors' and the radio personas they portray. Piece by piece, Benson then transitions the piece from radio drama to full-fledged stage production. It's a bit of a bumpy ride, but one worth taking to see the characters spring to life.

Charles Lang is sensitively portrayed by the Blue Man Group's Gideon Banner, whose awkward innocence and subtle expression create sympathy for the man whose trust has been crushed by the farcical reality of the American dream. As Lang's sister Rita, Angela Meade tackles an ambitious interpretation, capturing the audience with her expressive visualization and her innocent longing for a life away from the streets of Chicago. Her scenes with Banner are particularly touching and bring out the sensitive qualities of the actors. Unfortunately, the interaction between Lang and lawyers Gross (Will MacDonald) and Oberman (Ken Flott), while growing in intensity, never quite reaches the feverish pitch that would stir and shock the audience. The anger, the despair, the message - they all hit. But not quite hard enough.

There's never a dull moment onstage, with plenty of drama and a good supporting cast. But with such a thematically saturated script, there's so much to absorb that it's easy to lose a bit in the shuffle. Here the production would have benefited from the tighter and more intimate blocking Benson uses in scenes between Rita and Lang. This, in addition to more focused lighting, might have directed the audience's attention and brought out the darker elements pervading the play.

Such elements are observed, however, by costume designer Amanda Mujica and scenic designer David J. Miller. Mujica uses just the right tones and styles to contrast the gentleness of characters such as Lang with the sharpness of the lawyers. Miller's set - an arrangement in red, white, and blue - appears to aim at the national overtones of the piece. As the play hurtles towards disaster, the lights dim and only the red remains. It is an ominous and chilling suggestion of the trappings, false ideals, and broken dreams that can hide behind a cheerful, patriotic facade.