Publicist to the Stars David Rothenberg Pens Rollicking Book of Remembrances

David Rothenberg‘s multilayered life has propelled him into Broadway‘s brightest lights, prison riots, political campaigns, and more. After reading the script for a play called “Fortune and Men’s Eyes,” by former prisoner and playwright John Herbert, Rothenberg was so moved that he created the Fortune Society. Fifty-eight years later, it has a staff of 600 people and six residences for formerly incarcerated men and women.

Later, he was a civilian observer during the Attica Prison riot, which also left a deep impression on him and continued his lifelong activism for prisoners’ rights.

He was also a top publicity agent in the theater world, most notably working closely with Elizabeth (“Never Liz. We only called her Elizabeth,” he says) Taylor and Richard Burton, and was also connected to iconic shows like Hair; Beyond the Fringe, Sir John Gielgud’s production of The School for Scandal, Tennessee Williams productions and many more.

But Rothenberg, now 91, remains primarily involved with—and most proud of—his work for formerly incarcerated men and women. He eventually conceived and directed The Castle, which played off-Broadway for over a year with a unique cast of former prisoners. Productions continue to be performed in colleges, churches, civic groups, and prisons around the country.

He has served on multiple committees, was a close friend of former governor Mario Cuomo, and even ran once for City Council. He debated Roy Cohn on the death penalty. You can read about all this, and much more, now, in Rothenberg’s just-published book, Manhattan Mayhem.

What would you say was the most important thing in your professional life?

Reading and seeing the play Fortune and Men’s Eyes. This was 1967 and there was no voice for the formerly incarcerated. There was a need to confront their past: They couldn’t get jobs. I’d ask, ‘When does the punishment stop?’ ‘Never,’ they said. It was about power and control. Students from criminology classes wanted to come and learn from it. So, I became an advocate.

Tell how your work with the incarcerated got you involved in negotiations in the Attica prison takeover in 1971. [The four-day standoff ended with the death of 43 people, 10 corrections officers and 33 prisoners.]

We were in the yard for that negotiation. I told John [John Wojtowicz], who was the man Al Pacino played in Dog Day Afternoon, “You may have a lot of cred with people here, but when you go for a job, I wouldn’t bring it up.” [In the movie, Pacino’s character was named Sonny Wortzik, reportedly based on Wojtowicz.]

Changing gears now, to a world you and I both cover closely: the stage. You were obviously involved with many of the big ones.

One day producer Alexander Cohen, my boss then, said, “We’re doing Hamlet with Richard Burton and you’re going to deal with the media.” It was mayhem. Richard one day asked me, “What’s with the press?” I told him the only issue was how many and which ones he wanted to do. He agreed to be put on the cover of Life and did the Times. When he did interviews, Elizabeth said to me, “Come on, honey, they don’t need us. Let’s hang out.” I figured, well, someone has to do it. She asked me to be her date opening night. I always say I was one person who dated Elizabeth Taylor but didn’t marry her.

Which other shows did you work on?

Boys in the Band, Hair, some Albee plays. Bette Davis in Night of the Iguana.

Was Bette Davis as tough as they say?

She was no problem. She said to my boss, “The boy can take care of me.” She later told me, “The studios want to control everything I do.” She saw me as a professional colleague. Bette sat in the wings with me on that show, and she would notice the voltage of the lighting if it was different. Peggy Lee was like that: She knew the wattage. I worked with her for 15 years. Everyone told me she was difficult but not for me.

And Lauren Bacall?

Not easy and not nice. She had a charmed life at 16, she came to Hollywood and broke up Bogie’s marriage. She had her own look, not like anyone else’s. But kind? Nope.

Would you say the AIDS crisis was the worst thing to hit the theatrical world?

Absolutely. Remember when William Buckley wanted all gay people to be tattooed? I remember going to the Gay Men’s Health Crisis for help, so we could get the literature into prisons. That way the inmates knew what symptoms to look for. Again, I was thinking of them.

Do you still go to lots of theater? Seems we are both reviewing the same shows.

All the time. I just saw Ibsen’s Ghosts at Lincoln Center. I didn’t care for Sunset Boulevard, and, of course, I’ve seen everyone do Gypsy. Audra was good but a bit operatic. Once you’ve seen Ethel Merman, no one compares. She was the true meat and potatoes.

My claim to spotting a diamond in the rough is writing in a review to remember the name Timothée Chalamet, after I saw him play a young boy in a play called Prodigal Son. Your claims to fame on that front?

I pride myself on two discoveries. I saw a musical called Over Here . . . and there were kids in the chorus. I said to my partner, “Who is that guy?,” pointing to one of the dancers. We looked in the program. It was John Travolta. I saw Soldier’s Play, and after the first act, I said, “Who’s the guy with the glasses?” Yep, it was Denzel Washington. I did the same many years ago with a relative unknown named Anne Bancroft. Some people just have it, and you can’t take your eyes off them. Anne was asked what it was like to be married to Mel Brooks, and she said, “Every time the door opens, the party begins.”

Obviously, you have outlived a lot of people over the decades.

Oh yes. We just lost Linda Lavin, who became a close friend. She once described our relationship: “David and I started talking 50 years ago and we’re still talking.”

I know you worked with, or I should say for, directors like Arthur Penn, one of my favorites.

I loved Arthur. I once asked him if he had any thoughts for me on promoting a show. He said, “David, you don’t tell me how to direct, and I won’t tell you how to do press.” That’s very rare for a director.

You were also very close to Alvin Ailey, yes?

One of my closest friends. He originally told me, “I’m creating something new from the Bible.” And I thought, “Oh no, there goes that.” It turned out to be Revelations. When I started the Fortune Society, I asked Alvin if he’d go on my board. He did, and then we introduced many former prisoners to the world of dance. He was a joyous man.

On March 30 at 3 p.m., Rothenberg will celebrate the launch of Manhattan Mayhem with a special event at The Castle, 625 W. 140th St. (between Broadway and Riverside Drive). The event will include a reading from the book as well as discussions with Rothenberg and friends, including two-time Tony Award winner Christine Ebersole; former New Jersey Governor James McGreevey; former CEO of Fortune Society JoAnne Page; Fortune Society CEO Stanley Richards; from the cast of Rothenberg’s The Castle, Casimiro Torres; and a performance by actor Richard Hoehler and the Fortune Society Choir.