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...occasionally shared her bed; now he sees a way he can help Rita and, always more important, himself. She's in danger of losing her job because she said no to one of J.J.'s rivals, Leo Bartha. Sidney needs a third columnist, Otis Elwell (David White), to print the slur about Dallas, thus currying J.J.'s favor. So when Elwell also promises to get the cigarette girl her job back, Sidney pimps Rita to him. The three of them wind up in Sidney's office, with Elwell uttering the oldest line in his little black book...
...real reward of the double album is Sweeney himself, portrayed by the redoubtable George Hearn. Twenty years after he played the role in New York, Hearn’s voice shows no strain and his performance remains remarkably powerful. Though an out-of-print videotape of Hearn’s performance in Hal Prince’s original staging is available, this is the first recording to feature him as Sweeney, and even were it not desirable for its comprehensiveness and its perfectly cast principals, Hearn’s Sweeney is a marvel worth possessing...
...print, we would like to divine exactly what is going on inside the head of the drinks vendor who sits on his haunches and stares blankly across the street, and Levitt compels us to imagine the appearance of the unseen woman—or man—whose snow cone-holding hand is all that appears. The print depicts foreground and background people half obscured by a lamp post and a telephone booth, and so, as we wonder, we also revel in the ingenious spontaneity of seemingly unconscious compositions...
...exhibition’s flagship print epitomizes that ingenuity as it depicts the quotidian event of a laborer on the street handling a dolly laden with boxes. Front and center, Levitt constructs a fractured lattice from the box edges, the dolly handles and painted street lines; behind and off to the right, an undulating white canvas runs into a street covering a construction site, thus breaking up that structured rigidity. In the middle background, between the tarpaulin and the worker, cars stream by, having just come out of gridlock. Most unsettling, in the very close left foreground, half a woman?...
Moreover, Levitt questions a photograph’s focal point. An artist would normally discard a print with such an interruption, but here, it is featured prominently. Simultaneously, Levitt creates as well as breaks geometry with straight and serpentine lines. Immediately, she personalizes and evokes the greater context of the city with her depth of field...