Jeff Lunden

Jeff Lunden is a freelance arts reporter and producer whose stories have been heard on NPR's Morning Edition, All Things Considered and Weekend Edition, as well as on other public radio programs.

Lunden contributed several segments to the Peabody Award-winning series The NPR 100, and was producer of the NPR Music series Discoveries at Walt Disney Concert Hall, hosted by Renee Montagne. He has produced more than a dozen documentaries on musical theater and Tin Pan Alley for NPR — most recently A Place for Us: Fifty Years of West Side Story.

Other documentaries have profiled George and Ira Gershwin, Stephen Sondheim, Richard Rodgers, Oscar Hammerstein, Lorenz Hart, Harold Arlen and Jule Styne. Lunden has won several awards, including the Gold Medal from the New York Festival International Radio Broadcasting Awards and a CPB Award.

Lunden is also a theater composer. He wrote the score for the musical adaptation of Arthur Kopit's Wings (book and lyrics by Arthur Perlman), which won the 1994 Lucille Lortel Award for Outstanding Off-Broadway Musical. Other works include Another Midsummer Night, Once on a Summer's Day and adaptations of The Little Prince and The Adventures of Huckleberry Finn for Theatreworks/USA.

Lunden is currently working with Perlman on an adaptation of Swift as Desire, a novel of magic realism from Like Water for Chocolate author Laura Esquivel. He lives in Brooklyn, N.Y.

Peter Brook is truly the grand old man of world theater. He became famous with his productions at the Royal Shakespeare Company in the early 1960s; wrote the seminal theater text The Empty Space; and started the International Centre for Theatre Research in Paris, where he developed such plays as the nine-hour adaptation of the Sanskrit epic, The Mahabharata.

Now, at the age of 89, Brook has brought his company to Brooklyn with a new play all about the mysteries of the human brain.

Sometimes good things come in small packages. Nonesuch Records, which started as a tiny independent budget classical label in 1964, is celebrating its 50th anniversary with three weeks of concerts at the Brooklyn Academy of Music. The label became a force in the recording industry by pioneering electronic music and world music, launching the ragtime revival and becoming a place where contemporary classical composers had a home. Now an industry powerhouse, Nonesuch still operates like an independent record company.

A labor crisis threatening to shut down New York's Metropolitan Opera — the largest opera house in the world — appears to have been averted. Two of the major unions announced a tentative settlement this morning. While agreements with 10 additional unions need to be reached by Tuesday night, this represents a major turning point in a bitter dispute.

The clock is ticking for the Metropolitan Opera in New York. The world's largest opera company may be headed for a shutdown. Most of the union contracts for the Met expire in a week. Yesterday, Met General Manager Peter Gelb sent a letter to the unions, warning them to prepare for a lockout if they don't come to terms.

For months now, the company and its unions have been at an impasse. Management has proposed cutting 16 percent of union members' compensation. Otherwise, Gelb contends, the company could go bankrupt in two to three years.

Most people who attend symphony performances can spot the concertmaster. That's the first chair violinist who enters before the conductor and helps tune the orchestra. But the all important position calls for much more than that — from playing tricky solos to shaping the sound of the string section.

Every time you see a Broadway show, chances are a lot of the actors are wearing wigs.

Sunday night at the 68th Annual Tony Awards, Broadway's highest honors will be presented in a ceremony at Radio City Music Hall. Awards will go to actors, actresses, set and lighting designers, but not the people who make the wigs the stars wear, even though the wigs are an essential part of theater craft.

Essential, and yet often invisible, says Jason P. Hayes, the wig designer for Harvey Fierstein's Tony-nominated play, Casa Valentina.

Disney's animated film Frozen has been racking up impressive statistics since it was released last November. Its box office earnings total $1 billion, worldwide, the movie won two Academy Awards, and on the first day the home video came out, it sold 3.2 million copies. But one stat has taken both Disney and industry analysts by surprise: The soundtrack has become a phenomenon, topping the Billboard 200 chart 13 times.

The Library, a new play at New York's Public Theater, tackles an uncomfortable contemporary topic head on: It looks at the aftermath of a school shooting and peers into the shattered lives of the survivors, and the stories they tell. The play is written by Scott Z. Burns and directed by Steven Soderbergh, who've collaborated on three films; most recently, the thriller, Side Effects.

Stage director Kenny Leon is one of the most sought-after creative talents on Broadway today, even if he isn't a household name. He's guided Denzel Washington and Viola Davis to Tony Awards in a Tony-winning revival of August Wilson's Fences, he directed Samuel L. Jackson and Angela Bassett in The Mountaintop and he's got two Broadway shows opening within three months of each other.

Rocky: The Musical. Really?

Producer Bill Taylor says even the show's creators didn't buy the idea at first. "If you speak to all of the authors and all of the creative team, their instinctive reaction, when first hearing about Rocky becoming a musical, ranges from incredulity to plain crazy," he says.

Regardless of how critics and audiences eventually responded, Spider-Man: Turn Off the Dark was always going to be one of the most-discussed shows in Broadway history. It had songs by U2's Bono and the Edge; it was directed by The Lion King's Julie Taymor; it was based on a hit Marvel franchise; there were going to be flying stunts right over the audience's heads.

And then somehow it all went very wrong, from injured actors to huge cost overruns.

For 160 years, the pianos made by Steinway & Sons have been considered the finest in the world. So when hedge fund billionaire John Paulson recently bought the company, it struck fear in the hearts of musicians: Would the famously handcrafted pianos be changed, for the sake of efficiency? Paulson, who owns several Steinways himself, says nothing will change.

Ian McKellen and Patrick Stewart have known each other for years — they were both actors at the Royal Shakespeare Company in the '60s and '70s, and both achieved broader fame through movies and television. Both were knighted by Queen Elizabeth II for their work onstage and off. And then, of course, they were cast as mortal enemies in the first X-Men film 14 years ago, and have come back to the roles of Magneto and Professor X several times since.

"We became good friends as a result of shooting multimillion-dollar adventure movies," Stewart says.

This season, New York audiences have seen wildly different interpretations of Shakespeare plays. They've seen the Romeo of Orlando Bloom make his first entrance on a motorcycle; they've seen a production of Julius Caesar set in a women's prison.

Now the London-based company from Shakespeare's Globe Theatre has landed on Broadway with what seems like the most radical concept of them all: plays staged in a style Shakespeare would've recognized, with all-male casts, period costumes and live music.

Not A Museum

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