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ELEVEN

I read somewhere how odd it was that although I ran for public office twice I have never really written about either race or, indeed, why I ran. Well, part of the why of 1960 was Jack Kennedy who had married Jackie whose mother had taken the place of my mother as Mrs. Hugh Dudley Auchincloss. After my mother and I had moved out of Auchincloss’s Virginia house Jackie’s mother and sister moved in while my half brother and half sister became Jackie’s stepbrother and stepsister. So many divorces and remarriages in our interconnected family has made for numerous weird connections as well as non-connections: I have four stepbrothers, sons of my mother’s last husband, General Olds: I have not only never met them but I don’t even know their names. Oh, what a tangled web is woven when divorcées conceive.

In 1956 Adlai Stevenson, the Democratic nominee for president, decided to throw the convention open in order to choose a vice presidential candidate. Jack, the junior senator from Massachusetts, placed himself at center stage, battling with Estes Kefauver, a Tennessee senator with a record for fighting crime. When Jack lost, I wrote him a note congratulating him on not being Stevenson’s running mate since that eloquent figure was clearly not going to beat Eisenhower; and did not.

As Jack began his long campaign for the Democratic nomination for president, I decided to help out with a play called The Best Man whose successful run on Broadway did him no harm. Some years later, I wrote another political play, An Evening with Richard Nixon: in this case my Nixon character, wonderfully played by George Irving, spoke only Nixon’s actual recorded words; this decision to use his actual words as recorded over the years cost me more money in research than I was ever to make out of the play. But with Irving as Nixon the result was wildly comic because Nixon seemed to have no conscious mind. He said whatever was milling about in his overwrought subconscious. In speeches he often turned to Pat, his wife, loyally seated nearby, and, shaking his finger at her, he would intone, “We here in America can no longer stand pat.” The producer, an old friend, suddenly succumbed to a fit of megalomania: instead of opening at a small theater like the Booth where my Visit to a Small Planet had done so well, he opened Nixon at the Shubert, a vast theater that only something the size of Oklahoma!, the musical—or indeed the state—could ever have filled. Needless to say, as always, in Nixon land, there were death threats for many of us, while The New York Times outdid itself by headlining the review: “A play for radical liberals,” certain death for a Broadway play. Actually the play was a sharp preview of Watergate, already unfolding in the wings. A dance critic, Clive Barnes reviewed the play which had done well with tryout audiences. Clive conceded that it was very funny but, by the third paragraph, he knew that he was supposed to attack and did. I think his exact line was: “Gore Vidal has said mean and nasty things about our president.” I ran into him not long after and told him, kindly, that in Clive’s native England one might refer to “Our” Queen but in the U.S. we never say Our President. The best aspect of the play was a sort of limbo to which George Washington, Dwight Eisenhower, and JFK have been assigned, quarreling with each other as they watch with wonder Nixon’s inexorable rise to the presidency. As it turned out, aside from revivals, that was to be my last new play on Broadway, made memorable by a young actress who played several different parts. In due course, I became godfather to one of Susan Sarandon’s sons by Tim Robbins. Yes: I did say, Always a godfather, never a god.

George Irving (the star), Claire Bloom, and I at the New York opening of An Evening with Richard Nixon.