The Freedom Movement Surges on Broadway
Move over, George Clooney. Libertarianism is the hottest new thing among serious artists. One of our greatest living playwrights, David Mamet, has just announced that he has given up “brain‐dead liberalism” for a new appreciation of capitalism and constitutionalism.
As a child of the ‘60s, I accepted as an article of faith that government is corrupt, that business is exploitative, and that people are generally good at heart.…
The Constitution, written by men with some experience of actual government, assumes that the chief executive will work to be king, the Parliament will scheme to sell off the silverware, and the judiciary will consider itself Olympian and do everything it can to much improve (destroy) the work of the other two branches. So the Constitution pits them against each other, in the attempt not to achieve stasis, but rather to allow for the constant corrections necessary to prevent one branch from getting too much power for too long.…
And I began to question my hatred for “the Corporations”—the hatred of which, I found, was but the flip side of my hunger for those goods and services they provide and without which we could not live…
What about the role of government? Well, in the abstract, coming from my time and background, I thought it was a rather good thing, but tallying up the ledger in those things which affect me and in those things I observe, I am hard‐pressed to see an instance where the intervention of the government led to much beyond sorrow.…
I began reading not only the economics of Thomas Sowell (our greatest contemporary philosopher) but Milton Friedman, Paul Johnson, and Shelby Steele, and a host of conservative writers, and found that I agreed with them: a free‐market understanding of the world meshes more perfectly with my experience than that idealistic vision I called liberalism.
David Mamet. In the Village Voice. Ouch. Limousine liberals must be crying in their Pellegrino.
But he’s not the only one. Tom Stoppard, another candidate for the title of greatest living playwright, recently admitted to being a “timid libertarian” in an interview with Time:
Stoppard has always stood apart from many other British playwrights of his generation, like David Hare, for avoiding an overtly political (usually left‐wing) point of view. He describes his politics as “timid libertarian.” Yet he can rev up a pretty bold rant on Britain’s “highly regulated society,” which he thinks is “betraying the principle of parliamentary democracy.” There was the garden party he threw recently, for example, where because there was a pond on the property, he was required to hire two lifeguards. “The whole notion that we’re all responsible for ourselves and we don’t actually have to have nannies busybodying all around us, that’s all going now. And I don’t even know in whose interest it’s supposed to be or who wishes it to be so. It seems to be like a lava flow, which nobody ordered up. Of course, one does know in whose interest it is. It’s in the interests of battalions of civil servants in jobs that never existed 10 years ago.”
This was no surprise to fans–such as the British political theorist Norman Barry–who had seen themes of freedom, responsibility, morality, and anti‐communism (he was born in Czechoslovakia, though his family left before the communists replaced the Nazis in power) in his plays.
Poor Hollywood. Still mired in old, outmoded left‐liberalism as high culture moves toward an embrace of freedom.
