Biography Elaine Stritch
Elaine Stritch
Elaine Stritch

Elaine Stretch has starred in a number of Broadway musicals, including Noel Coward's "Sail Away", Stephen Sondheim's "Company" and Leroy Anderson's "Goldilocks".

Here are some of her comments about Goldilocks from a 1999 interview:

"What if Goldilocks were opening tomorrow night on Broadway? It's interesting to me because I yearn for original, underlined, original musical comedy. And I love that expression, nobody seems to know what it means today, Musical Comedy. Steve Sondheim wrote that wonderful song about comedy tonight, tragedy tomorrow, comedy tonight. But musical comedy really makes me laugh. It's kind of an old-fashioned expression and I love it. And Goldilocks was a musical comedy. That doesn't mean that it wasn't romantic, there's nothing unromantic about comedy. That doesn't mean that it wasn't sad, comedy can be sad. It was the overall thing of musical comedy. And I think that Goldilocks, which someone brought up today, the competition of Broadway then when there were lots of shows like this. I wish I had a playbill in front of me that I could list them all, they were really hot shot musicals that have been household words ever since.

Goldilocks at best and I think it means that it really had so much good in it that it has survived as a cult musical, or else it would not have been re-released on a CD, which means that the musical bunch got alot of the credit. Walter and Jean Kerr have been criticized about their book, because it wasn't a good marriage, but they wrote the lyrics. The CD is a very big hit of Goldilocks, people love it because it is a musical comedy. And Leroy Anderson should feel super about that. His first time out and how many years later they have a CD released of that musical. That ain't bad. No it didn't make money, it didn't run a long time. But you know the critics were not this way about Goldilocks at all. And I'm here and proud to say I got wonderful notices in Goldilocks. Lovely. I was well out of that one. I came through without getting you know, because what did we expect, you know.

His music, I look back on Leroy's music in my head, in my soul, in my heart, and in a few other places. And I have to be thankful for him. I never thought about it until this interview came up in my life which I ran to do because I did admire him greatly. And some of the stuff he did outside of Goldilocks is really breathtaking material. Good stuff. And I loved in his bio the ways it says he reached so many people. And so naturally he must of been very upset when Goldilocks didn't reach lots of people. But the CD did. So what's he squawking about, where ever he is. He should feel jubilant at that, you know.

The way he affected me, his music, was whatever emotion I was going through in Goldilocks, whether it was comedy, or tragic love affair that didn't turn out to be tragic but he got sore at me and left me and the sadness of the ballad that I sang, the melody of it, unbelievable. It was so poignant. So stirring in me that "You Never Know When to Say When". And whatever it was it worked. I think my talent had something to do with it, I hope, I know. But I also think unless you got a melody, you're out to lunch. How many musicals have we all been to you can't think of one tune. Nothing when you go out into the lobby.

And even a song that was cut from Goldilocks, I remember Leroy when he played this for us and he sang a little of it which was very unlike him. When they meet, the two leads, its a song called "Hello" and the melody is (sings) "Hello, we'll now bless my eyes, It's you what a nice surprise." And it's got a real, almost popular song quality to it. It swings, it's beautiful. And in the next breath he's doing a (sings) "He may not know you're there but he's got to pay the rent," and its comedy, comedy, comedy tonight. Then there's a middle layer of wonderful music that he wrote for what I think is one of the most charming songs in the world.

But to get back to the problem of the book, it didn't deal with what this musical was about. But out of context (sings) "Whose been sitting in my chair, just me, just me, ..... I'd like a chair sitting next to next to my chair, if you were sitting in my chair" and not making it naughty or anything he went (sings) "Oh gosh, oh gee," and then when he got to the bed upstairs (sings) Whose been sleeping in my bed, just me, just moi. I like a two fisted biped for my boudoir. I'd like a something hanging next to my dress, I'd like to need a larger mattress, if you were sleeping in my bed," now instead of getting naughty, he did (sings) "tra - la, tra - la, tra - la, tra - la." And if you donıt think that thatıs charming, forget about it. It's adorable. It's just adorable. Especially for a hip woman like that to sit down and sing that song, with a live bear, nothing the matter with that. There were moments in Goldilocks, very much thanks to Leroy Anderson, that had real charm and witty music."

Here are audio excerpts of three songs that were written for the Broadway musical "Goldilocks" but not used in the New York production. They are sung and performed by Leroy Anderson (Real Audio player required):

If I Can't Take it With Me
Tagalong Kid