Drama

by John Lithgow

  Three Lincolns

  MS Thr 546 (155), Harvard Theatre Collection, Houghton Library, Harvard University.

  At some point, every skinny six-foot-four American character actor is asked to play Abraham Lincoln. I’ve been asked three or four times. The only time I actually did it was in the summer of 1967, when I was twenty-one years old. I had graduated from Harvard and was heading to London in the fall to study acting on a Fulbright grant. I’d decided to stick around Cambridge for the summer prior to my departure, as a member of the Harvard Summer School Repertory Theatre. This was a company run by the professional staff of the Loeb Drama Center and made up of recent graduates of several college drama departments. After the runaway turmoil of the summer before, this job was comfortable and risk-free. (Tim Mayer’s far more raffish and daring troupe, now in its second season, was at the tiny Agassiz Theatre, across the street.) Our Loeb company presented four shows. The last of them was a new play about Abraham Lincoln called White House Happening. The writer and director of the play was, surprisingly, the larger-than-life impresario of the New York City Ballet, Lincoln Kirstein. And in Lincoln’s play, I was Abraham Lincoln.

  Lincoln Kirstein was a mighty figure in American arts and letters, particularly in the world of dance. Over many years he had poured his titanic energies and his considerable fortune into the creation of the New York City Ballet and its feeder institution, the School of American Ballet. He had lured the great choreographer George Balanchine to New York, inviting him to create the repertory of ballets that continues to define the company’s artistic identity. But since I knew precious little about the Manhattan arts scene, and even less about the world of ballet, I’d never heard of Lincoln Kirstein. Months before starting work on his play, I was sent to New York to meet him. It was like making the acquaintance of a turbulent, fast-moving human storm system.

  First of all Lincoln Kirstein was big. At six-four, he was my height, but a solid, top-heavy 250 pounds. His wardrobe rarely diverged from a kind of uniform, made up of a navy-blue double-breasted suit, white shirt, black shoes, and dark tie. He was bullet-headed, with his silvery hair clipped to a prickly bristle. His posture was erect but he led with his chin, and his impatient gait always seemed to be just shy of a trot. His intense eyes glinted under a knit brow, and his smile was a grimace, giving him a mischievous, almost satanic air. That year he was sixty years old and at the height of his powers. On my visit to New York he briskly squired me around town, keeping up an animated running commentary on every conceivable subject, ranging far beyond his play. The highlight of the trip was an evening at the New York State Theater at Lincoln Center. I sat next to Kirstein for a program of four ballets performed by his company. He was like an emperor proudly displaying his private treasure. At each intermission, he led me backstage, introducing me to the dancers as if they were beloved adopted children. At every moment he was an effusive host, the master of all he surveyed. I was awed and mystified by him in equal measure.

  A couple of months later, Kirstein arrived in Cambridge to take charge of rehearsals for the world premiere of his White House Happening. The premise of this overheated historical drama is far-fetched and provocative. It proposes that Abraham Lincoln carefully plotted his own assassination. His motive, according to the playwright, was his conviction that the American North needed to make a blood sacrifice to the South to heal the wounds of the Civil War. Kirstein himself seemed utterly convinced of the truth of this wild hypothesis. His play takes place in the White House on the day of Lincoln’s fateful visit to Ford’s Theatre. Surrounding Lincoln is a cast of characters that mixes historical fact and fiction: his wife, a raving-mad Mary Todd Lincoln; his head of the Secret Service, a hand-wringing George Chatterton; his two earnest young aides, John Hay and John Nicolay; and a voodoo-spouting Creole housekeeper. Finally, there is a character that lends a whiff of historical scandal to the proceedings. This is a young mulatto man working as a steward in the White House. The young man is Abe Lincoln’s illegitimate son, born of a long-dead slave girl whom the morose president recalls with moony longing and lip-smacking sensuality. This unsavory historical stew was to be stirred by our writer-director Lincoln Kirstein, who had never directed a play in his event-filled life.

  Lincoln directed with the wide-eyed delight of a child with a new toy. He had no conception of the rudiments of staging, and half of our rehearsal time was given over to his long, irrelevant tangents. But none of this mattered to us actors. Nobody could resist the man’s charm, his charisma, and his enthusiasm for the project. Among the cast was Tommy Lee Jones, playing the role of John Hay. Tommy and I were good friends by this time and we watched Lincoln at work with wary admiration and slightly conspiratorial bemusement. Neither of us had ever seen anyone like him.

  As the weeks passed and we counted down to our first performance, strange things started to happen. We all watched with growing concern as Lincoln became progressively manic. As the play evolved from its halting first rehearsals to a polished imitation of reality, it seemed to touch some deep well of anxiety in him. One day things reached a tipping point. We arrived for rehearsal that morning, but Lincoln was nowhere to be seen. One hour passed, then two. He finally arrived, bursting into the room with volcanic energy and carrying an open bottle of vodka. He was an alarming sight. His clothes were disheveled, his face was flushed, and his eyes were wild with excitement. He immediately launched into another of his rambling speeches, but this one was fueled by a crazed intensity. As he spoke, he dispensed with his jacket, his tie, even his dress shirt, leaving only a T-shirt covering his massive torso. Every few minutes he swigged from the vodka bottle, emptying it as his company of young actors sat there watching, mute and incredulous.

  Lincoln’s speech was wild and disjointed, but we gradually caught the gist of it. White House Happening was not about Abraham Lincoln. It was about Lincoln Kirstein. He rattled off the play’s connections to his own life. The mad Mary Todd was his wife, Fidelma; Hay and Nicolay were his extramarital gay infatuations; his black son was Arthur Mitchell, the New York City Ballet dancer whom Lincoln had made into the first great African-American ballet star. And Abraham Lincoln himself was the playwright-director, a haunted, torn, self-destructive creature, struggling to contain his demons. As the production of Lincoln’s play had inexorably taken shape before his eyes, its metaphorical reflection of his own life had become almost unendurable to him. It was pushing him toward a severe psychotic collapse. Listening to his long, tortured outpouring that day, I began to sense how complex my onstage and offstage roles had become. I was Abraham Lincoln, Abraham Lincoln was Lincoln Kirstein, therefore I was Lincoln Kirstein. And in Lincoln Kirstein’s fevered mind, he was gradually losing track of any distinction between the three of us.

  Lincoln had lost control. He had been accompanied to Cambridge by an attentive male companion, a man close to his own age named Dan Malone. But not even this kind, solicitous soul could help Lincoln through this terrible crisis. The big man was bewildered and disoriented but full of ferocious, undirected energy. That afternoon he took to the Cambridge streets like an escaped animal, padding around barefoot in that same soiled T-shirt and trousers, with Dan doing his best to steer him clear of trouble.

  The following day, we witnessed the full force of Lincoln’s mania. We were due to rehearse for the first time on our monumental set. The poor, pitiable man showed up in time for rehearsal, but he looked worse than ever. He was still barefoot, wore the same clothes, and by all appearances had not slept since the day before. When the cast assembled onstage, he ordered us to sit out in the house. For four weeks, we had been performing for him. Now he performed for us. Like a cartoon version of a madman, he acted out a frenzied pantomime. He barked, bellowed, and darted about. He seized a prop knife and whittled away frantically on a wax candle. He dashed behind the scenery, then stuck out his hand, his foot, or his head with jerky, percussive movements. The entire “performance” was agonizing to behold. Tommy Lee and I sat side by side i
n the theater, stealing looks at each other. No one knew what to do. But something definitely had to be done.

  Lincoln appeared to have lost all sense of his own ego. Reminding myself that I was playacting the part of Lincoln Kirstein, I gingerly decided to take on the role of his other self. I stood up, walked forward, climbed up onstage, and spoke quietly to him.

  “Lincoln.”

  He looked at me as if I had suddenly come into focus.

  “Yes?”

  “Why don’t we call Dan on the phone?”

  “Yes.”

  “He can take you to the hotel, and you can have a nap.”

  “Yes. Yes.”

  His massive body seemed to slump with relief. I got him to the phone, Dan got him to the hotel, and an hour later he was fast asleep. We didn’t see Lincoln again until near the end of the run of his play, about five weeks later. In the meantime, we had learned a bit about his psychological history. Apparently he had experienced a few episodes like this in his adult life, though none nearly as severe or painful. When he reappeared he had lost weight, his hands trembled, his temples were marked with purple bruises, and his manner was tentative, muted, and sweet. Curiously, after all he had been through, he didn’t seem that interested in his own play. But he was grateful and generous to each of us when he came backstage afterwards. Knowing that I was heading off for a year in England, he handed me a stack of letters of introduction to his London friends, including Irene Worth, Cecil Beaton, and Sir John Gielgud.

  The director of the Loeb Drama Center had taken over White House Happening and we had managed to open with no further mishaps. Despite the passion that Lincoln had poured into the project, it ended up a fairly unremarkable evening in the theater. But for me the experience was overwhelming. It taught me a frightening truth: creating theater, even not very good theater, is like working with volatile chemicals. And in the wrong combination those chemicals can burn you. For the first time I had seen a soul in agony, and that agony had arisen directly from his own emotional investment in the creative process. I had glimpsed real madness, not the pretend kind. And it was all the more poignant and pitiable to see it afflict such a warm, powerful, seemingly indomitable man. This was an acting lesson that couldn’t be taught.

  Because of Lincoln Kirstein’s high profile in the cultural landscape of the nation, his play attracted far more attention than it probably should have. Critics flocked up to Cambridge to cover it, and so for the first time in my career I was reviewed in the national press. Lincoln’s notices were mostly dismissive, treating his play as something between a curiosity and a vanity project (to this day, it has never had a second production). As for me, I got one bad review and one good one. The description of me in the pages of Newsweek introduced me to the word “neurasthenic.” And the first mention I ever received in the New York Times appeared in the last sentence of a negative review written by Daniel Sullivan, their second-string critic:

  “The role of Abraham Lincoln is played by John Lithgow, a young man with a future in the theatre.”

  [15]

  This Scepter’d Isle

  Halfway through my last year of college, I told my father that I was going to audition for a Fulbright grant to study acting in London. His face fell as if I’d just told him I’d contracted a terminal disease. This was hardly the response I’d expected. I had spent four summers working for him, I had played a dozen parts, I had built props, run lights, pulled curtains, and mopped the stage. I had developed friendships among his adult company members that were deeper and more lasting than any friends of my own age. My father had directed me, acted with me, and watched me perform huge roles in school plays. He’d been surprised and increasingly pleased at my growing skill and confidence. By this time, any fool could see that I was heading toward a career in the theater. I was practically addicted to it. But confronted with the reality of my choice, Dad was completely blindsided.

  If my decision was a surprise to him, his disappointment was a surprise to me. Each of us had completely misread the other. In that instant, father and son experienced twin shocks stemming from two sources: his withholding nature and my blinkered naïveté. The stricken expression on his face stuck in my memory. It told of anxiety, struggle, and debilitating self-doubt. In my eyes, the theater had always been exotic, seductive, and fun. Each of my father’s companies had seemed a magical circus, with him as its insouciant ringmaster. Suddenly that image was turned on its head. I saw that a life in the theater had been harrowing for him and that he feared the same fate for me.

  In the halting conversation that followed, he tried to articulate those fears. He painted a picture of the desperate insecurity of an actor’s life, the scarcity of steady work, the difficulty of providing for a family, and the unending anxiety of being subject to the whims of producers, directors, critics, and fickle crowds. He told me that, in fact, he had always imagined me as a producer-director, beholden to nobody and immune to the constant rejection that all actors must endure. If you must go into the theater, he advised, be the person in charge and acquire the skills to do it right. He confessed to his own sense of inadequacy as a theater manager, how inept he felt at the essential tasks of fundraising, budgeting, and personnel management. But all of this, he claimed, need not be a problem for me. It was acquired knowledge. I could master it as he never had. As a follow-up to my newly acquired Ivy League education, he suggested an altogether different direction.

  “Why not go to business school?”

  Business school? Where on earth did that come from? It was a suggestion that completely floored me. It was the first piece of direct advice my father had ever given me. It was succinct, sensible, even wise. But to me it was a message from another planet. It was like advising a poodle to become a pit bull. My brain was exploding with the absurdity of the notion, but I betrayed none of this to him. I listened, smiled, and nodded as if the idea intrigued me. But . . . business school? It was never going to happen. Without a word of defiance, or even skepticism, I proceeded to utterly ignore my father’s counsel. In the coming weeks and months, I perfected a speech from Richard II, I traveled to New York, I auditioned before a blue-ribbon Fulbright panel, I landed a grant, I sailed to Southampton with my wife on the second-to-last ocean crossing of the RMS Queen Mary, and I set foot for the first time on the green and pleasant land of England.

  England!

  Can you imagine a more thrilling time to go to England? And to go there for the very first time? In September 1967, I arrived in London, dizzy with sensory overload. This was the London of the young Rolling Stones and Pink Floyd, of Carnaby Street and Portobello Road, of James Bond, Stanley Kubrick, and Blow-Up, of the young Harold Pinter, David Hockney, Julie Christie, and Albert Finney. Gielgud, Guinness, Scofield, Ralph Richardson, and Maggie Smith were showing up regularly on the stages of the West End. Laurence Olivier was running the National Theatre. Peter Hall was passing the torch to the twenty-seven-year-old Trevor Nunn at the Royal Shakespeare Company. Peter Brook had not yet decamped for Paris. And although John and Yoko had found each other, the Beatles were still together!

  And the backdrop to the electric bustle of Swinging London was the stately grandeur of Great Britain herself. Suddenly I found myself hungry for all things British. I had been studying the history and literature of England for the preceding four years, but I learned more about its society, culture, and geography in the first week that I was actually there. I had known all about characters named Cornwall, Gloucester, Northumberland, and Kent from Shakespeare’s plays, but I’d never bothered to look at a map to find the counties that bore their names. I had spouted a hundred place names in the lyrics of Gilbert and Sullivan, but I’d never seen any of them, nor even knew where they were. On crisply painted row houses in leafy squares all over London, round blue ceramic plaques marked the former residences of notable figures from centuries of British politics, arts, and sciences. Charles Dickens! Benjamin Disraeli! Alexander Pope! Every hour of every day seemed to crackle with such
discoveries. And at night the plummy accents on BBC broadcasts lent an air of elegance and exoticism to even the most humdrum reporting. I would avidly soak up news of a cricket test match at Lord’s, a brawl in the House of Commons, or a by-election in West Walthamstow. It barely mattered that I had no idea what any of it was all about.

  My main passion, of course, was London theater. I was over there to study acting, but I saw immediately that my most vivid lessons would be delivered to me in a theater seat. My first days in London were filled with the logistical tasks of finding a cheap flat, opening a bank account, mastering the London Underground, and mustering for my first classes (and in Jean’s case, sniffing out job prospects in London schools). But no matter how packed our days were, the nights were given over to theater. With a hectic pace we were to maintain for the next two years, we sprinted around town, taking in plays like children on an Easter egg hunt.

  Mainly I was drawn to the National Theatre and the Royal Shakespeare Company, the two mighty magnetic poles of the British stage. At that time, the National was housed at the Old Vic, and the RSC’s London home was at the Aldwych. On a typical morning I would stand in line outside the Old Vic at 7 a.m. to buy cheap same-day tickets for that evening’s performance. I would then run across Waterloo Bridge to pick up a fistful of tickets for upcoming RSC shows. And that evening, after a long day at school, Jean and I would be right back at the Old Vic, perched in our favorite seats in “the gods,” craning toward the stage.

  In those first weeks, I saw the National’s Much Ado About Nothing, Rosencrantz and Guildenstern Are Dead, The Three Sisters, and A Flea in Her Ear, in thrilling productions featuring such actors as Joan Plowright, Derek Jacobi, and the very young Anthony Hopkins. Over at the RSC, I squeezed in three or four productions of Shakespeare, brought down to London after a summer season at Stratford-on-Avon. Sprinkled throughout that company were young actors whose names would one day become household words all over the world, including Judi Dench, Patrick Stewart, and Helen Mirren. The fervent pace of my theatergoing, combined with the relentless, unaccustomed cold and damp of the English climate, sent me to bed wracked with influenza, causing me to miss an entire week of school just after classes had gotten underway. For days I alternated between raging fevers and bone-rattling chills, with Jean hauling sweat-soaked sheets to the coin-op laundry and ministering to me in our dismal little bed-sitter in Courtfield Gardens. It was the sickest I’d been in my life. But the tradeoff was the finest theater I’d ever seen. I barely minded at all.