Since Mamet’s 2008 essay in The Village Voice, “Why I Am No Longer a Brain-Dead Liberal,” he has been subject to a towering wave of enmity from the community to which he has devoted his life. (There has always been the absurd accusation that he is a misogynist, a view presumably predicated on his ability to give idiomatic voice to male longings and terrors. That Speed-the-Plow, Oleanna, and Race all feature brilliant female roles, and that Boston Marriage and The Anarchist have all-female casts, affects this point of view not at all.)