In that piece, as you can read here, Mamet credits the catalyst of his conversiion to an examination of the dichotomy of playwright Bertolt Brecht's personal life and his theater work.
Rob Weinhert-Kendt, writing on his blog, The Wicked Stage, wonders why Mamet didn't use a couple of targets closer to home:
The more I think about it, the more this feels like a bit of sleight of hand. Is Brecht really a relevant "father" for Mamet? Why not tackle two influences closer to home, like, say, Arthur Miller or Harold Pinter? Mamet owes each a huge debt as a dramatist, and both were men of the left. Not card-carrying Communists who eagerly submitted to living in a Soviet client state, mind you, just garden-variety lefties (with Pinter, by the end, representing a particularly thistly variety) who, while critical of Western democracies and capitalism, lived reasonably happy and productive lives within them.
Why, I wonder, wouldn't Mamet apply his newfangled rightwingery on two forebears so much closer to him aesthetically than the German epic poet? I can't say for sure, but I can venture a guess.
Read the rest here.
Meanwhile, George Hunka, writing at his blog Superfluities Redux points out some hypocrisy in Mamet's newfound embrace of the free market as the cure for the theater's woes.
All well and good — and quite consistent with Mamet’s recent turn of thought. On the other hand, if Mamet accuses Brecht of hypocritically biting the hand that feeds him — well, physician, heal thyself. If it were not for this non-profit, state-subsidized theatre, it’s unlikely that Mamet would even have a career, in the theatre or anywhere else. Almost all of his early plays were premiered in non-profit and state-subsidized institutions — American Buffalo received its mainstage premiere at Chicago’s Goodman Theatre in 1976, The Water Engine at New York’s Public Theater in 1977, and Glengarry Glen Ross in 1983 at the mother of all English-language state-subsidized theatres, London’s National — well insulated from the demands of the marketplace (at least then, in those happy days before regional and non-profit theatres sought to become more and more like their commercial cousins). So we await a statement from Mamet repudiating these earlier “pseudodramas” of his.