David Mamet’s latest play Bitter Wheat opened in London’s West End in June to largely negative reviews, which is somewhat surprising, because it’s terrific. Then again, maybe it’s not so surprising. Most theatre critics are bleeding-heart leftists, and following his embrace of a more conservative attitude, they simply regard David Mamet as a traitor. It’s petty, but it really is that simple.
What Mamet has accomplished with this play — ostensibly a theatrical treatment of the birth of the #MeToo movement — is to present the liberal elite mindset for what it is: self-centred virtue signalling coupled with a complete abdication of personal responsibility. Offended critics will protest that sexual abuse is too serious and sacred an issue for such a comic treatment, that the politically incorrect dialogue is unacceptable in our safe space society, that the play is unfair to the female perspective, and they’ll even accuse it of being a veiled defence of Harvey Weinstein (which is utter nonsense). The truth is that Mamet’s exposure of the liberal-left doctrine as morally contradictory at its core has hit a nerve.
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