“In certain countries, theatres do not merely hire half-starved performers to act out the writings of half-starved writers. They also launch revolutions”.

Binoy, you don’t mean somersaults?

Humanity does revolve but it seems to find itself standing exactly on the same old feet whence it stood.

Nothing has changed since the first Heroes-Kings and nothing will change.

One will be president; one will be on a university chair, one will be on a rubbish truck, one will be waiting for the mortician and so on; but forget revolutions.

All you will see, if you can tear the veil from your eyes, is stupidity and arrogance and wasting.

We dream of revolutions, but forget on waking up, when breakfast is one of our body’s needs.

This article's a bit cryptic, in terms of its politics, but I think you're barking up the wrong tree, sceptic.
I don't know much about Havel's work but I do about the absurd, and deism and the absurd seem like contradictions-in-terms to me.
Binoy Kampmark seems to be talking about what Raymond Williams(borrowing for George Gissing) called "negative identification", a kind of radical narcissism wherein the charismatic projects, or sublimates, his own "starved passions" onto a popular cause. No real conviction is invested, just flamboyance and eccentricity--a hallmark of absurdist characters, who are the nub of the joke--think of Becket's "Endgame", wherein the traumatised court-pieces agonise over their pointless moves in an endless stalemate. The absurd is the trauma site of the fall of the ego after all and one can see the incongruity of Havel's Miltonic (Satanic) reprise of the fall.
The divinity of the human is precisely what's been lost and Havel seems then to have failed to appreciate the real lesson of absurdism.
My concern would be that Binoy Kampmark seems uncritical of the State and its legitimacy. The State is not the democratic ideal it ought to be and its interventions are more in the nature of efficiencies than humanitarianism.