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I was barely ruffled. I fired off a letter to the draft board in response, confident that it would get me off the hook. The letter was bold and indignant, but my arguments against being inducted were absurdly thin. I firmly stated that I could not possibly show up in Trenton on the date assigned. I was in England, after all, on a U.S. government grant. I told them I was an assistant director on an important new play at the Royal Court Theatre in London, working with a core group of disciples of the great Peter Brook. On the ridiculous assumption that the name Peter Brook would mean anything at all to the Trenton draft board, I enclosed a letter from him claiming that I was “indispensable” to the project (this, notwithstanding the fact that I had never met the man). I even reminded the board of my watery antiwar protestations, written on that registration form six years before. In retrospect, I picture a table in an office in Trenton, New Jersey, surrounded by staffers from the Selective Service System, reading a letter out loud from a Fulbright scholar in England and sharing a good hearty horselaugh before tossing it in the wastebasket.

Shortly afterwards I heard from Trenton again. Once again I was given a date and time for my draft physical, but this time I was told to report to a U.S. Air Force facility, situated on an RAF air base just outside of London. This time I was scared.

In desperation, I decided to fake my way out of the army. With a combination of political self-righteousness and creative zeal (and a healthy dose of fear and cowardice), I set out to forge my most challenging, complex, and subtle performance to date. I would play the role of John Lithgow, but I would play him as an unrecruitable psychological basket case. For this particular piece of playacting, I would put aside the rigorous precepts of my LAMDA training and adopt my own half-baked version of the Method. I would forsake stage technique for sense memory and emotional truth. And I would play my part as if my life depended on it.

My basic approach was to create a heightened version of my darker self. In the week leading up to my physical, I lived the life of another person. Everything I did was a perversion of my customary behavior. I barely ate and barely slept. I went unshaven and unbathed. I picked my face and peed on my own fetid undershorts. One afternoon, I sat in the dark in a near-empty Soho strip club with a couple of furtive old men, staring at the desultory, sexless performance of a po-faced stripper who might have stepped out of a Diane Arbus photograph. By such means, I struggled to induce in myself a feverish state of anxiety, depression, and near-madness. And it worked. On the morning I reported for my physical, I was an ashen, quivering, foul-smelling mess. I had scrupulously rehearsed for a week, and now I was ready to perform.

My goal was to fool the military into thinking I was unfit for service. In fact, circumstances made it far easier for me to achieve this goal than I could have hoped. Since the physical was being conducted at an Air Force facility by Air Force personnel, no one had any particular stake in whether or not I was inducted into the U.S. Army. Everyone involved in my exam seemed bored and offhand, making no effort whatsoever to see through my act. My red eyes drooped with fatigue and my hands trembled as I filled out forms. I even fainted dead away when my blood was drawn. But none of this artifice raised the slightest suspicion among my examiners, or even much interest. They simply wrote down a description of whatever they saw, ready to send it back to Trenton as observable fact.

After completing my battery of tests, I was singled out for one more interview. I was ushered into the office of an Air Force psychiatrist. He was the only person I dealt with that morning who appeared to be seriously engaged in his duties. He was kindly and soft-spoken, an earnest young man with a distinctly unmilitary aura of compassion about him. He gently questioned me about my psychological state, and I was ready for him. In the weeks leading up to this interview, I had created a detailed psychological profile of myself. I now laid it out for this young man without making a single false statement. I had taken mildly neurotic aspects of my own nature and inflated them into full-blown psychosis. My garden-variety shyness was now pathological fear. My tendency to avoid confrontation was now a phobic terror of violent conflict. My scanty sexual experience was now a tormenting doubt about my manhood. When he asked me straightforwardly if I was homosexual, I obliquely replied that, in spite of my marriage, I often thought about my college roommate. As we spoke, he took down detailed notes, entirely persuaded. I was acting for an audience of one, and he had no idea that I was acting. This made my session with him the most convincing performance I’d ever given. A triumph! But I took no joy in it. The man was filled with such empathy and understanding that I actually felt bad for him. My self-contempt bloomed like a poisonous flower. Ironically, this only deepened my performance.

A month later, another letter from the Trenton draft board was forwarded to me in London. The reviews were in. I was a smash. They classified me 4-F. This was the Holy Grail of the antiwar generation. I would not be drafted.

That year, Arlo Guthrie’s “Alice’s Restaurant” was a huge hit in the United States. The song was a loopy anthem for the antiwar youth of America. It tells the story of Guthrie’s attempts to get out of the army by faking his way through his draft physical. It is a farce version of exactly what I went through in London that very year (and, by coincidence, much of it was set in Stockbridge, Massachusetts, one of my many hometowns). The tone of the song is comical and carefree. For Guthrie, dodging the draft was a clownish lark, a cause for celebration, and the raw material for a hit song. This was not my experience. I never regaled anybody with my draft story, nor ever dreamed of making it a public entertainment. Indeed, this is the first time I’ve ever told it. A sense of shame stayed with me for years and has never entirely disappeared. Some of that shame had to do with the appalling suffering caused by the Vietnam War, suffering that I so conveniently avoided. Some of it had to do with the fact that I showed so little courage and conviction in protesting the war and that I spent two of its most turbulent years leading a comfortable, fun life in swinging London.

But somewhere deep down there was another source of my shame. I didn’t get out of the army by acting. I got out by lying. There is a difference. When you act, you do it for a willing audience, ready and eager to be tricked into belief by a crafty imitation of reality. There is an unwritten pact between an actor and his audience: I will deceive you but I will do it for your delight, your edification, or your illumination. And I’ll only do it if you so desire. On that Air Force base I was violating that pact. Until then, I had always thought of acting as an art — a slightly tainted, highly suspect art perhaps, but an art nonetheless. The events of that morning troubled me deeply. If acting was an art, I had abused it. The concerned face of that Air Force shrink stayed with me. He wrote down my fake ailments without a trace of skepticism or doubt. As he did so, I was overwhelmed with relief. But at the same time, shame was churning inside of me.

[18] Coming Home

In 1968, my wealthy, childless Uncle Bronson announced that he would make a gift to each of his nieces and nephews of a safe, reliable automobile of our choice. The news of this gift reached me in London. I chose a sturdy, navy-blue VW station wagon, purchased through a dealership in Mayfair. With an eye to the future, I requested a model with its steering wheel on the left side. When I finally sailed home from England on the brand-new QE2, my new car was ferried home, too, on a separate vessel. That car would figure prominently in my first weeks back in America.