goth, it also establishes Louise's naiveté--emotionally, she's even younger than her chronological age--which begins the arc that will conclude with her becoming the faux-sophisticated Gypsy Rose Lee.
And it gives the listener's ear a break from all the fast-paced belting before and after. I find it a breath of fresh air with a lovely tune.
If I were to find fault, I'd agree with Sondheim that "Goldstone" is sort of a one-joke song. Maybe if a better song were written for that spot, you would better appreciate "Little Lamb".
A thought: I wonder if "Little Lamb" was influenced by Sondheim's chagrin over Harnick's reaction to "I Feel Pretty". In the former, Sondheim goes out of his way not to write lyrics too sophisticated for the character.
(Anecdote: when we remounted the Lansbury production in South Florida, it wasn't "lamb season", so it took me weeks to find a lamb from Animal Actors of New Jersey and to have it flown to Florida. But on opening night, just as Nana Tucker held the last note of "Little Lamb", the real lamb went "baaaaaaaaa" as if in reply--gently, on cue and even in the right key! It was truly a magical movement and, live theater being what it is, never happened again.)
Updated On: 12/15/13 at 07:14 PM
