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.

This morning the New York City Opera announced that it was declaring bankruptcy and ceasing operations. Dubbed "The People's Opera" by Mayor Fiorello LaGuardia when it was founded 70 years ago, the company was meant as an alternative to the richer Metropolitan Opera. It's the place where exciting young singers like Beverly Sills and Placido Domingo made their New York debuts and where innovative productions of new operas premiered.

Pop-culture aficionadoes will know Zachary Quinto as Spock in the cinematic reboot of Star Trek, and Cherry Jones as President Taylor from television's 24.

But both are accomplished stage actors as well. And tonight, they're opening on Broadway, in a revival of Tennessee Williams' classic play The Glass Menagerie.

There are a lot of operas that end with heroines on their deathbeds, singing one glorious aria before they die. That's what happens at the end of Anna Nicole, the controversial new work that New York City Opera is presenting at the Brooklyn Academy of Music in September. But the company's artistic director and general manager, George Steel, says it could also be City Opera's last gasp.

If the world as we know it comes to an end, will art survive? And if it does, what kinds of stories will be told after the apocalypse? The answer might surprise you.

The lights come up on a group of people around a campfire in the woods, trying to recall all the details of the hilarious Simpsons episode "Cape Feare," a parody of the Robert Mitchum and Robert De Niro movies, in which Bart Simpson is stalked by the evil but incompetent Sideshow Bob.

A few years ago, after songwriter Michael Friedman and writer-director Alex Timbers had finished working on their cheeky historical musical Bloody Bloody Andrew Jackson, they decided to look for a new project to work on. Friedman says they wanted the next show to have a completely different feel.

"So we started looking at Shakespeare," Friedman says. "And then, I think, we came to sort of, 'How amazing would it be to work on a romantic comedy?' "

It's a hot summer afternoon and the recital hall at Purchase College is abuzz with excitement and nervous energy. One hundred and twenty teenagers, from 42 states, are about to embark on an extraordinary musical and personal journey.

Clive Gillinson, executive director of Carnegie Hall, steps up to the podium to greet them. "Welcome to all of you," he says. "It's wonderful to welcome you here to the first-ever National Youth Orchestra of the United States of America!"

Part of what makes a Broadway show a Broadway show — read "splashy," especially if we're talking musicals — is the costumes. Some shows feature hundreds.

And a battalion of workers is involved in a highly choreographed backstage ballet, not just to keep the actors looking good but to help them change costumes almost instantaneously.

"Don't put your daughter on the stage," Noel Coward famously cautioned his imaginary Mrs. Worthington, and no wonder: Stage acting is one of the toughest professions imaginable. For all the potential triumph, there's hardly any job security — and more than a little potential for heartbreak and disappointment.

In the seven years since her last album, Audra McDonald has kept busy. She spent several years in Hollywood, filming the television series Private Practice. She's gotten divorced and remarried, absorbed the shock of losing her father in a plane crash and watched her daughter, Zoe, grow up from a kindergartener to a middle-schooler.

When Pippin opened in 1972, it was a sensation. Directed and choreographed by Bob Fosse, who was coming off his Academy Award-winning film version of Cabaret, it was a showbiz triumph of jazz hands, sexy dancing and theatrical magic.