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If “it” equals WHAT OTHER PEOPLE THINK OF YOU, then “Let It Go” is great.
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The confusion exists with which “it” the song is talking about. The song doesn’t really service the story at all, because Elsa never really sings a song that says, “hey, it turns out I can’t let everything go, some things you have to still care about.”
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Her triumphant Walden-esque isolation lasts like three seconds before she’s pulled back into the plot. Elsa not only can’t “Let It Go,” because it turns out she does care about fitting in. What kind of message is this exactly? Run from your problems and flip a middle finger at those problems from behind closed doors?įurther complicating this contradiction is the fact that the story of the film, proves the sentiment and result of “Let It Go,” to be false. But, after you let “it” go emotionally, you’re supposed to physically lock yourself in a Fortress of Solitude. Sorry, but how is a song about embracing your true nature and flying your freak flag also a pro-isolation song? On the one hand, you’re supposed to “let it go,” the “it” being, what other people think, societal norms, and, in fact, interactions with people who can harm you, etc. She describes this isolation like this: “ The snow glows white on the mountain tonight. (“I don’t care what they’re going to say.”) But her way of dealing with this is to “slam the door” and live in an isolated ice castle. "It's the fragment, not the day," Stephen Sondeheim wrote, "It's the pebble, not the stream / It's the ripple, not the sea / That is happening.The specific sentiment of the lyrics “let it go” are ostensibly about Elsa embracing her true nature, and not caring what other people are going to say. He told me once the most cherished of his own songs was 'Someone In A Tree' from 'Pacific Overtures' because it reminds us, as we've learned again so recently, that life stays with us in imperishable moments, of which he leaves so many. In times in which people have half-a-thought they put instantaneously into words on a public platform, Stephen Sondheim reminded us how craft and form give shape and strength to our feelings. And they walk together past the postered walls with the crude remarks." I can't be in New York without thinking how, as Stephen captured it, "Another hundred people just got off of the train / And came up through the ground /.And are looking around. I can't think of my mother, who was a showgirl, a hostess, a secretary and a clothes seller, without singing from Stephen's show, 'Follies': "Plush velvet sometimes / Sometimes just pretzels and beer, but I'm here."
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I cannot think of my wife without feeling what Tony sings to Maria in West Side Story: "I saw you and the world went away." Those of us who loved Stephen Sondheim have carried his lyrics along in our minds as if he'd somehow used his Blackwing pencil to excavate words from our own hearts. So many times over these months, with so many locked down in loneliness and isolation, I have thought of his words from that show's 'Being Alive': ".alone / Is alone / Not alive." I noticed many of us who gave him an ovation as he simply took his seat had tears in our eyes. My wife and I saw him a few nights ago, at the premiere of a new production of his show, 'Company,' which had been delayed by the coronavirus. Stephen said, "I guess I was just working on the crossword." I told him that before we'd ever met, I had seen him do a crossword puzzle in a newspaper on his knee in a lobby, and was so gobsmacked to see my artistic hero in so mundane a setting I just stared said nothing and began to cry. I would toss up worshipful questions for him to brush aside. I did a few stage shows with Stephen, who died Friday, over the years. But I always hope for a scintilla of his magic in my words, which was really imagination, fueled by discipline. (Douglas Elbinger/Getty Images)įolks on our show will tell you I use Blackwing grey pencils because Stephen Sondheim did. Stephen Sondheim onstage during an event at the Fairchild Theater in East Lansing, Mich., in 1997.