"The Water Engine" | A dark fable wrapped in an homage to '30s radio

The recent documentary film "Who Killed the Electric Car?" cleverly turned the emergence and disappearance of an American automobile into a stirring murder mystery.

David Mamet used a similar gambit for fictional purposes nearly 30 years ago in "The Water Engine," a fascinating one-act presented at Richard Hugo House by the Strawberry Theatre Workshop.

In Mamet's fable, which could use some revving up in this rather stately version, considers Charles Lang, a young factory worker and inventor who has perfected an engine that can be powered by water. Lang wants it to liberate assembly-line workers from drudgery. But his first visit to a patent lawyer, picked at random from the phone directory, triggers dark consequences.

"The Water Engine" offers an ominous, arguably paranoid view of American capitalism thwarting American ingenuity, in order to protect profits and keep the masses down. Set in the Great Depression, it reflects back on the tumultuous political temper of that era, when street-corner orators preached revolution — and passers-by stopped and listened. But the play is also Mamet's homage to 1930s radio, as a populist dramatic medium that required the masses to use their imaginations.

Directed by MJ Sieber, eight actors in the show handle multiple roles. They also concoct all the live radio sound effects (doors creaking open, phones ringing, etc.), and pitch in on folksy musical numbers and mock public-service announcements.

As with many theatricalized old-time radio dramas, watching the teamwork and timing that defines the medium is fun.

And one can forgive the slender plotting of Mamet's morality tale, partly because it is so pungently wrapped in the style of pulpy '30s film noir and serial radio. It also exploits the symbolism the 1933 Chicago's World Fair, contrasting the rhetoric of American progress with the reality of an individual genius up against sinister corporate forces.

Strawberry Theatre Workshop has again chosen a worthy older script with a theme that hooks sharply into current concerns. What's some degrees off here is Sieber's pacing. Though it runs a mere 70 minutes, the production feels laggy and needs more horsepower to drive us relentlessly and swiftly to what should be a more shattering conclusion.

Spiffier live music is warranted also, though the sound design by Luke Kehrwald and shadowy lighting from Eldon Tam are just fine.

In an acting ensemble full of solid local talent, Gabriel Baron could add some variety to his contained, glowering portrayal of Lang (the inventor), and Erik Hill, as one of the bad guys, hopefully has improved on his stumbling opening-night turn.

Right in gear, though, are the smooth villainy of Michael Patten (as a dastardly lawyer — is there any other kind in melodramas?); the humorous kibitzing of Marty Mukhalian as a nosy neighbor; and the high anxiety of Kate Czajkowski as Lang's blind sister, Rita.

Misha Berson: mberson@seattletimes.com