Drama

by John Lithgow

  And so it did. Growing into adolescence, Arthur commandeered a little room on the top floor of the Melrose house and immersed himself in books. Ghostly storytellers had found their most attentive listener: Rudyard Kipling, Washington Irving, Robert Louis Stevenson, Sir Walter Scott. And as he worked his way through all these timeworn treasures, he made a life-changing discovery. As an older man, my father described the moment when he “caught a fever”: he came across the plays of William Shakespeare. Reading from a single hefty volume of the Complete Works, the teenage boy proceeded to methodically plow through the entire vast canon.

  A few years later, such literary passions sent Arthur westward to Ohio, to Antioch College, in Yellow Springs. There his love of storytelling evolved into a love of theater. At Antioch, he poured his energies into student productions. Cast as Hamlet in his senior year, he caught the eye of an infatuated freshman, a Baptist minister’s daughter from Rochester, New York, named Sarah Price. When Arthur graduated, he headed straight to New York City, where he joined the legions of aspiring young actors scrabbling for work in the depths of the Depression. Within months of his arrival, he was astonished to find Sarah Price on his doorstep, having dropped out of Antioch to follow him east. With no reasonable notion of what else to do, he married her. It was a marriage that was to last sixty-four years, until his death in 2004.

  By the time my conscious memory kicks in, it was the late 1940s and the couple were back in Yellow Springs. In the intervening years, Arthur had turned his back on New York theater; he had taught at Vermont’s Putney School; he had worked in wartime industry in Rochester; and he had completed basic training in the U.S. Army. Just as he was about to be shipped out to the South Pacific, I was born. Arthur was now the father of three children. According to army policy, this made him eligible for immediate discharge. He seized the opportunity and rushed home to Rochester.

  The next stop for the burgeoning young family was Ithaca, New York, where the G.I. Bill paid for Arthur’s master’s degree in playwriting at Cornell. A year later, he was working as a junior faculty member in English and drama at his alma mater, Antioch College. He was also producing plays for the Antioch Area Theatre in the old Yellow Springs Opera House. Among those plays were A Doll’s House and The Emperor’s New Clothes. A year after that, when I was approaching four years old, I start to remember.

  The Lithgow family lived in Yellow Springs for ten years. When we moved away, I had just finished sixth grade. Those ten years would prove to be the longest stretch in one place of my entire childhood. I’ve only been back to Yellow Springs twice for fleeting visits, and the last visit was almost thirty years ago. Even so, it is the closest thing I have to a hometown.

  In the first show of mine that I actually remember, I had a lousy part. I was the Chief Cook of the Castle in a third-grade school production of The Sleeping Beauty. It took place in broad daylight on a terrace outside The Antioch School. This was the lab school of Antioch College, where I was receiving a progressive, fun, and not very good education.

  As the Chief Cook, my entire role consisted of chasing my assistant onto the stage with a rolling pin, then dropping to the ground and falling asleep for a hundred years at the moment Sleeping Beauty pricks her finger. I must have known what a bad part it was, but perhaps because of that I took particular care with my costume. I persuaded my father to make me a chef’s hat befitting the Chief Cook of the Castle. With surprising ingenuity, he folded a large piece of posterboard into a tall cylinder, then fashioned a puffy crown at the top with white crepe paper. The hat was almost as tall as I was. I was delighted.

  “Now we’ll just cut it down to half this height and it’ll be perfect,” my father said.

  “Oh, no, Dad!” I said. “Leave it!”

  “But you’ll run onstage and it’ll fall off your head,” he reasoned.

  “No, it won’t!” I insisted. “This is the hat of the Chief Cook of the Castle! It’s got to be very tall! Leave it!”

  The next day, I carried the lordly hat into my classroom. My schoolmates were awestruck.

  “It’s beautiful!” said Mrs. Parker. “But shouldn’t we cut it down to half this height? You’ll run onstage and it will fall off your head.”

  “No, it won’t!” I exclaimed. “This is the hat of the Chief Cook of the Castle! The most important cook in the entire kingdom! It’s got to be very, very tall!”

  My vehement arguments prevailed. The performance was that afternoon. When my cue came, I ran onstage and my hat immediately fell off my head. After the show, I chose not to answer the eight or ten people who asked, “Why did they give you such a tall hat?”

  This was perhaps the first instance of the extravagant excess for which I would one day become so well known. But considering what my father was up to at the time, such grandiosity is hardly surprising.

  Photograph by Axel Bahnsen. Courtesy Arthur Lithgow papers, Kent State University Libraries, Special Collections and Archives.

  My father was producing Shakespeare on an epic scale. In the summer of 1951, in league with two of his faculty colleagues, he launched “Shakespeare Under the Stars,” otherwise known as the Antioch Shakespeare Festival. It was to last until 1957. The plays that had sparked the imagination of that lonely boy in an attic room in Melrose, Massachusetts, came to life on a platform stage beneath the twin spires of the stately Main Hall of Antioch College. In every one of those summers, my father’s company of avid young actors, many of them freshly minted graduates of Pittsburgh’s Carnegie Tech, would achieve the impossible. Each season they would open seven Shakespeare plays in the course of nine weeks, rehearsing in the day and performing at night. Once all seven had opened, the company would perform them in rotating repertory, a different play every night of the week, for the final month of the summer. In 1951, the company began with a season of Shakespeare’s history plays. By 1957, they had performed all of the others as well, thirty-eight in all, many of them twice over. My father directed several of them and acted in several more, with an exuberant flamboyance that banished forever his boyhood shyness.

  Were the shows any good? In those days I thought they were magnificent. To my young eyes these were the greatest stage actors in the country, my father was the finest director, and Shakespeare couldn’t possibly be performed any better. As the years passed, I began to doubt my childhood impressions. How good could the productions have been with such hasty rehearsals, such threadbare costumes, and such an untested troupe? A twenty-six-year-old King Lear? A professor’s wife as Olivia? Grad students sprinkled among all the minor parts? Though I never lost my sense of awe at the magnitude of my father’s achievement, a certain skepticism crept in when I grew to be a theater professional myself.

  But then one day, only a few years ago, I received a package in the mail at my Los Angeles home. It contained an audio cassette. The cassette had been sent to me by a man whose late father, an actor named Kelton Garwood, had been a longtime fixture of the Antioch Festival, fifty years before. In going through Kelton’s effects, his son had found an old reel-to-reel recording. It contained fragments of a live performance of The Merry Wives of Windsor from an Antioch production in 1954. Kelton was featured on the recording in the role of Simple. His son had made a copy of the recording and sent it to me. The day it arrived, I popped the cassette into my car’s tape deck as I drove to work. Out came the scratchy sound of a scene involving a dizzy barmaid named Mistress Quickly, a sullen servant named Jack Rugby, and a manic Frenchman named Dr. Caius. Dr. Caius was played by my father. The scene was spirited, fast-paced, and riotously funny. The tape captured the sound of the audience, roaring with laughter and showering the actors with exit applause. The actors’ unamplified voices were ringing and clear, their timing was expert, and their command of the material was unerring. They were hilarious. As for my dad himself, he was even better than my oldest, fondest recollection of him. I pulled my car over to the side of the road. For a half hour, I sat by myself in a Proustian reverie, listening to the
sound of marvelous actors, performing for me from the grave, fifty years after the fact.

  Photograph by Axel Bahnsen.

  For me, the lazy days of summer in Yellow Springs were a heady blend of Ring Lardner’s Midwest and Shakespeare’s Cheapside. I had my share of Little League baseball, Boy Scout camp, the town pool, even a couple of family car trips to the woods of Kentucky. But these episodes were brief and unmemorable compared to the fantastical pleasures of the summer Shakespeare Festival. Toothy, skinny, barefoot, and nut brown, my buzz cut bleached to near-white by the sun, I would hang out at the theater for hours on end, watching rehearsals, chatting precociously with the actors, and striking up unlikely friendships with them. On reflection, I realize that they must have been a pretty callow bunch, since none of them could have been over thirty. But as a child I considered them to be sophisticated, worldly, seasoned artistes. I was deeply flattered that they seemed to treat me as a peer. It never occurred to me that they were merely being nice to the boss’s son.

  Acting careers are ephemeral. Many of the young actors from those days flirted with stardom in the years to come, but few actually achieved it. Age, of course, has overtaken most of them and their moment has passed. But devotees of the American theater scene over the last fifty years would recognize the names of Ellis Rabb, Earle Hyman, Nancy Marchand, William Ball, Pauline Flanagan, Lester Rawlins, Laurence Luckinbill, and Donald Moffat. To my young eyes, they were the definitive King Lear, Othello, Katharina, Puck, Rosalind, Dogberry, Iago, and Justice Shallow, respectively. And I worshiped them all.

  One of the big disappointments of my young life came during the first summer of the Shakespeare Festival. That was when my big brother David and my big sister Robin were cast as the two “princes in the tower” in Richard III. They wore tights, jerkins, capes, and floppy velvet hats. They even got to speak a few lines. Apparently I was too young for a speaking part. But I wasn’t too young to be stricken with sibling envy.

  The second summer was no better. Brother David got to play Lucius, the serving boy to Brutus, in Julius Caesar. Brutus was played by my father. One sweltering matinee day, David was queasy with stomach flu. A half hour before the performance, he asked to be excused. In a near tirade, my father attempted to instill in him the notion that “the show must go on.” David acceded. He played Lucius that day, waiting on his father and struggling mightily to keep from vomiting into the bushes in front of a packed house. But after that, he never wanted to act again.

  In time, my beloved brother Dave would craft his own version of my father’s vagabond lifestyle. It had nothing to do with the theater. Boy and man, David’s exuberance and animation always verged on the hyperactive. Hungrily inquisitive, a loquacious talker, and a demon for speed and exercise, he figuratively and literally took flight from the family business. He fell in love with flying. All the passion, intelligence, and energy that he might have poured into a career onstage he channeled elsewhere. He chose a life of aviation—as an Air Force pilot, an international airline captain, and an official of the FAA. Lucius in Julius Caesar was his swan song, at the tender age of twelve. And there was I, sitting in the audience with my sister, dying, dying, to go on in his place.

  The next summer, I finally got my chance. The season included A Midsummer Night’s Dream, and I was tapped to play Mustardseed, one of Titania’s entourage of fairies (sister Robin was cast as Moth). I searched the script and was thrilled to discover that Mustardseed actually had lines. Lines! For the first time I would speak onstage! There were only seven lines in all, and none contained more than four words (the longest was “Where shall we go?” spoken in unison with the other three fairies), but this took nothing away from the exhilaration of that moment.

  As with Sleeping Beauty, my costume was an issue. In its first incarnation, it consisted of a long-sleeved, bright-yellow leotard and a hat made of yellow fake fur. The hat was a miraculous creation. It had the shape of a tall seed pod, fastened under my chin and pointing straight up, rising two feet above my head. The dazzling yellow of the costume was set off by bronze-colored body makeup on my bare, spindly legs and several square inches of bold blue greasepaint around my eyes. I absolutely loved the look. As I took the stage at the dress rehearsal, I was Mustardseed incarnate.

  Courtesy Yellow Springs News.

  The next day, on the afternoon of our opening night, I walked into the company’s big communal dressing room, eagerly searching for my costume. I was shattered by what I found. At the dress rehearsal, the leotard had been judged to be too bright under the stage lights, so it had been unceremoniously splattered with black paint to cut down the glare. This was bad enough. But the fate of my glorious hat was even worse. “Too showy,” the director had decided. Just like the leotard, the hat had been splattered with black paint. And to my even greater horror, it had been cut down to half its size! “What is it,” I must have wondered, “about me and hats?”

  The woman who designed my androgynous Mustardseed getup also designed every other costume that summer. Of everyone who worked at the festival in all those years, she has emerged as perhaps the greatest star. She is the Oscar-winning costumer Ann Roth, who designed the clothes for The English Patient, The Birdcage, and over a hundred other plays and films. In 1981, we had occasion to work together again. She designed my entire wardrobe for the role of the transsexual Roberta Muldoon in The World According to Garp. In one of my last appearances in the film, you may remember that I am wearing a stunning, broad-brimmed black hat.

  Standing onstage at age seven in my first scene in A Midsummer Night’s Dream is one of the most potent memories of my childhood. Oberon and Titania, the king and queen of the fairies, are quarreling over a mortal “changeling boy.” In essence, it is a Shakespearean take on a hostile child-custody case. Poetry pours forth from both characters as Shakespeare seems to swoon at the chance to write dialogue for fairy royalty. And there I stood, half-forgetting that I was in a play, drinking it all in—the moonlit night, the pungent summer air, the cool breeze, the warm glow of stage lights, the distant shriek of cicadas, and the mysterious, half-lit faces of the audience, hanging on every word.

  And such words! They washed over me in waves, unamplified and gorgeously spoken, especially in the honeyed baritone of Earle Hyman as Oberon. At age seven, I barely knew what any of those phrases meant, but their sheer beauty enthralled me. Years later, in my mid-teens, my father took me to a matinee of a touring production of A Midsummer Night’s Dream at the Hanna Theatre in Cleveland. He had a couple of old friends in the cast, so for him it was an obligatory visit. But for me it was an afternoon of intense discovery.

  I hadn’t seen the play since that summer when I played Mustardseed. On this day in Cleveland, as I watched all of the fairy scenes, I was transported back to my childhood. I listened to every line as if it were half-remembered music. But this time, there was a kind of electric shock of recognition as I connected with Shakespeare’s language. This time I knew what they were saying! I suddenly understood the chemical reaction between poetry and emotion, acted out onstage. My excitement was so keen that it almost matched the thrill of witnessing one of the greatest comic performances I had ever seen, or have seen since. In the role of Bottom the Weaver, I got to see Bert Lahr.

  Oh yes, Shakespeare could make you laugh. Nobody knew that better than Bert Lahr. I once mentioned to his son, New Yorker critic John Lahr, that I’d seen his father play Bottom in A Midsummer Night’s Dream. John told me that Bert had wanted to do the role for a very simple reason. Bottom draws a sword in the comic play-within-a-play toward the end of Act V. Bert had seen this as an opportunity to have his pants accidentally fall down around his ankles. This was comedy gold for an old vaudevillian. And I saw it happen! Bert Lahr drew his sword, his pants fell down, and the audience laughed for about five minutes. Eventually everyone onstage laughed, too. From the audience, I noticed Lahr mutter something to the other actors. They laughed even harder. After the show, I asked one of those actors what Lahr ha
d said to them, in the midst of that torrent of laughter from the crowd. He’d said, “Let’s wear them out.”

  It wasn’t the first time I’d seen an antic character stop the show in a Shakespeare comedy. I can still picture so many moments of hilarity that I watched from my seat at the Antioch Festival. I see Petruchio waging a food fight, Sir Andrew Aguecheek waggling his sword, Dogberry cavorting with his night watchmen, like so many Keystone Kops. And I see my father, in my favorite of all his roles, staggering around as the drunken butler Stefano in The Tempest. These riotous performances represent my first lessons in the vulgar art of making people laugh.

  One summer during those years, when I was twelve years old, I had the chance to put those lessons to work. The occasion was the big show on the last night of a week of Boy Scout camp, with hundreds of raucous boys in attendance. Our troop had been chosen to put on a skit. We had come up with a ten-minute version of the old melodrama involving a hero, a villain, and a damsel-in-distress tied to the railroad tracks. I must have been either the most accommodating or the most spineless Scout in camp, because I had ended up in the role of the damsel-in-distress.

  That afternoon we haphazardly rehearsed for about fifteen minutes, then decided that in the evening we would just wing it. At showtime, I awaited my entrance in the darkness in my improvised costume. I wore a checkered tablecloth for a skirt and a Scout bandana for a headscarf. Combat boots completed the picture. The rustling sound of the crowd filled me with terror. I was a quivering bundle of nerves, anticipating the most mortifying humiliation imaginable. But alas, there was no turning back.

  My cue arrived, I made my entrance, and I threw myself into the scene. I must have been emboldened by the memory of all those Shakespearean histrionics back at the festival. Whatever I drew on, it worked. The crowd of boys greeted my every fey line and my every mincing gesture with gales of laughter, hooting their approval. The hero, played by Eagle Scout Larry Fogg, untied me from the tracks, hoisted me into his arms, and fell backwards onto his butt with me on top of him. The laughter was earsplitting. It filled me with joy. Like Bert Lahr, we wore them out.