https://www.nationalreview.com/2021/05/a-great-artists-career-in-anti-communism/
A rare voice of sanity in the theater, Tom Stoppard vigorously rebuked and lampooned the most monstrous idea of his time.
I f the Left can be reduced to a word, it is “utopianism.” Seeking to perfect man, progressives can never be satisfied with the state of things. To be a progressive means consistently to overlook undeniable progress — decreased poverty, for instance, or enhanced opportunity for minorities of all kinds — while insisting that everything is still terrible and calling for redoubling the fight with huge new injections of funding and ever-expanding bureaucracies.
By contrast, our greatest living playwright, Tom Stoppard, makes a Chestertonian case for accepting our gifts and muddling through. The director Mike Nichols once called him “the only writer I know who is completely happy.” Conservatism at its core rejects ideology — it is what is left behind when the grand schemes collapse and people just get on with it.
In the other direction, the revolutionary one, lies catastrophe. As recounted in Hermione Lee’s impressively wide-ranging new biography Tom Stoppard: A Life, Stoppard’s most successful work this century is the nine-hour trilogy The Coast of Utopia (2002), the sprawling story of the mid-19th-century radicals and intellectuals, such as Mikhail Bakunin and Alexander Herzen, who contemplated how Russian society should be reformed after the last tsar. The work is an ingenious way of reviewing the greatest human disaster of all time, the Communist debacle, by considering its ideological conception.
Bakunin, a proto-Bolshevik, argues in the play for a maximalist approach that starts with a vengeful spree against the ruling class; but Stoppard’s sympathies clearly lie with the meliorism of Herzen, who pleads “to open men’s eyes and not to tear them out. To bring what’s good along with them.” Herzen’s final speech, which Stoppard took almost verbatim from an 1855 essay, cautions against the folly of the “ancient dream” of “a perfect society where circles are squared and conflict is cancelled out. But there is no such place and Utopia is its name. So until we stop killing our way toward it, we won’t be grown up as human beings.”
Stoppard, nearly alone in his industry, resolutely made the case against communism and utopianism, from the Seventies on into this century. His having been right about communism isn’t why he’s an essential artist — and right-wing artists can be hacks too — but the virtue of his convictions gives his plays a satisfying heft to go along with their famous wit, effervescence, and undergraduate vigor.