By David Rothenberg

Attica -- Danny Hogan -- The Theater -- Broadway -- Fortune and Men's Eyes -- The Fortune Society -- Early Years -- tales -- Prisons -- Homo -- Social switch -- Candidate and Transition -- Retired -- The Fortune Academy -- The fort : A Play -- Snapshots -- Senescence

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Additional resources for Fortune in my eyes : a memoir of Broadway glamour, social justice, and political passion

Sample text

I was twenty-nine at the time but still needed an ID in an establishment that served booze. My youthful appearance was a disadvantage at first, but I made it work for me. People underestimate the young, just as—I have recently learned—the elderly are invisible. We became fast friends. She told me that, unlike Richard, she had never been able to hang out. All this paparazzi business was relatively new for him: when he starred on Broadway, he would barhop at Downey’s, Sardi’s, and other public venues.

That was enough of a dose of Broadway to convince me I was ready for the big time as the man in charge. In the spring of 1962, I told Alex Cohen I was prepared for the next chapter in my life. I joined his office that June. Incidentally, years later he told me that it was one thing I said that had made him gamble on a comparative novice. I, of course, didn’t recall it, because I had been so intimidated by the theatrical trappings in his office. He had said to me, “You are very young and have only been in the theater for two seasons.

He once whispered to me, “All I’m doing is raising the curtain twenty minutes late and defining that as sophisticated. It sells. ” At Alexander H. Cohen’s memorial service in 2000, New York Times critic Frank Rich, appraising Alex’s theatrical daring, stated: “Even with such failures as Rugantino . . ” I followed Frank to the podium as one of the eulogists at the service, which was held onstage at the Eugene O’Neill Theatre, where Alex’s final production, Waiting in the Wings, was playing. I recalled the adventure it had been for me working with Alexander H.

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