By Michael Buckley
20 Oct 2008

Elisabeth Moss

This month we speak to Elisabeth Moss (Speed-the-Plow, "Mad Men"), Eleanor Bergstein (Dirty Dancing) and Annette O'Toole (Kindness), and salute Edie Adams.

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Speed-the-Plow, a Broadway revival of David Mamet's take on creativity and loyalty in Hollywood, opens Oct. 23, at the Ethel Barrymore. The original 1988 production starred Joe Mantegna and Ron Silver (who won a Tony) as movie producers, with Madonna (in her first and most recent Broadway appearance) as an office temp who tries to persuade Mantegna's character to choose a serious screenplay over a commercial one. The title, Mamet has stated, comes from an adage: "Industry produces wealth, God speed the plow."

Starring in the new production are three-time Emmy winner Jeremy Piven ("Entourage") as Bobby, three-time Tony nominee Raul Esparza as Charlie, and — making her Broadway debut as temp Karen — Elisabeth Moss, whose credits include 1999's "Girl, Interrupted" (as "Torch," who had set herself on fire), "The West Wing" (as First Daughter Zoey Bartlet), and currently the Emmy/Golden Globe-winning "Mad Men" (as Peggy Olson).

Moss has no qualms about following "the Material Girl": "That was 20 years ago. Most audiences won't recall it. Well, I don't really care; it doesn't matter if they do. Of course, you're going to be compared to whoever did it before. If it's someone who's on the scale of a legend — for all her work — well, I never thought that, at any point in my career, I'd be compared to Madonna. [Laughs]

"When people bring up Madonna, I say, 'Actually, Felicity Huffman [long before "Desperate Housewives"] played the part after Madonna. I'm more intimidated by that.' She was here the other night, with her husband [William H. Macy]. They were as sweet as could be, and were really positive about the play. I was very happy that they came." While in previews, director Neil Pepe is still fine-tuning.

What attracted Moss to the role? "Honestly? It's a David Mamet play, and a beautiful part. I was asked to audition, had a couple of days off, came to New York, and I got it three days later. To do a David Mamet play on Broadway — well, you don't not do that."

Since she has a background in TV and films, was there any difficulty adjusting to theatre? (In 2002, Moss made her Off-Broadway debut, at Playwrights Horizons, in Richard Nelson's Franny's Way.) "Obviously, stage is bigger. You don't have a camera, two-feet from your face, that can pick up what your character's going through.

"You have a person sitting — I don't know how many feet away — at the back of the house, or in the balcony, and that's the person you have to reach. You have to be louder, bigger, and make sure that the feeling gets across. It's a challenge, but one I enjoy."

Born in Los Angeles, Moss has a brother, "18 months younger." As a child, she started acting in commercials and episodic television. "I had studied ballet, but when I was 16, I decided to go with acting. I'm 26, and I love the same things about it now, as I loved about it then."

One of her assignments was playing Baby Louise in the 1993 TV-version of "Gypsy," which starred Bette Midler. Recalls Moss, "Bette Midler was incredible! She's a legend. It was really cool working with her — and singing and dancing." The musical was the last credit for director Emile Ardolino ("Dirty Dancing") before he died at 50.

Her first substantial part "with really good material" was "Imaginary Crimes" (1994). "I played Harvey Keitel's daughter. [Annette O'Toole, interviewed in this column, was also in the cast.] It snowballed from there. Tony Drazan directed, and coincidentally he also directed my first 'West Wing' episode, seven years later."

"Girl, Interrupted," claims Moss, "was a great experience — working with Angelina [Jolie, who won an Oscar], Winona [Ryder], and all the women. [Director] James Mangold was a sweetheart." Playing a horribly scarred girl was "one of the most difficult things I've ever done. The make-up took three hours every day. When you wear that make-up, even people in the crew look at you differently. That was very helpful, as to what it would have been like."

From 17 to 24, she played Martin Sheen and Stockard Channing's daughter on 25 episodes of Aaron Sorkin's "The West Wing." Recalls Moss, "It was a dream working with those guys — all great New York actors, all very professional. To get to appear with them at such a young age, I think, really informed me as an actor."

Five episodes of "Invasion" (2005-06) cast Moss as Christina. "I got to be really mean, and kind of evil — and I never play that. I've played crazy a lot, but to be crazy and mean at the same time was really fun."

To date, however, the role that has given her the most satisfaction is Peggy Olson in "Mad Men," Matthew Weiner's top-notch series about Madison Avenue in the early 1960s. "I love the show so much! It doesn't feel like a job. I love my character, and all the writers." I watch episodes to catch up [on the action not involving her] — and, at the end, I think: How did I get so lucky?"

Are there similarities between her and Peggy? "Oh, for sure. Matt [Weiner] and I — and all the cast — have talked a lot about how much of ourselves to bring to the characters. I think it's no fun if you don't bring something of yourself."

Is Moss able to reveal anything about upcoming episodes? "No." Will Peggy's baby be seen again? "I wouldn't be sure of anything." Will the character of Father Gill (Colin Hanks, Tom's son), who likes Peggy, return? "Colin will be back for another episode." One assumes that if she says too much, Peggy (a onetime secretary rising to the ranks of copy writer) will be exiled to accounting.

Invited to attend a preview, I'm able to report that Mamet's play — and rat-a-tat dialogue — haven't dated in the least, and that Piven, Esparza, and Moss complement each other like a jazz trio riffing.

Thanks to a certain Presidential candidate, the term "maverick" elicits a huge, unintended audience response. Audiences enjoy when a mishap occurs — and, as Esparza is leaving Piven's office, the door handle comes off. He slams it back into place. [Laughter] Ad-libs Esparza, "They don't make studios the way they used to." [Applause] Piven remarks, "Thanks for fixing my office." Responds Esparza, "F--k you!" Off comes the handle again. Enter Moss. She looks at the door: "I'll get that fixed for you."

Yes, Moss is still working with "mad men" — just a slightly different variety. Welcome to Broadway, Ms. M! Continued...

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