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 August will mark 100 years since women won the right to vote with the ratification of the 19th Amendment. To celebrate, the New York Philharmonic has commissioned compositions by 19 women for an initiative it calls Project 19, which had its first concert earlier this month.

Legendary Broadway songwriter Jerry Herman has died. The author of the hit musicals Hello, Dolly!, Mame and La Cage aux Folles was 88.

Publicist Harlan Boll said Herman was taken to a Miami hospital Thursday night complaining of chest pain and later died of pulmonary complications.

The title of Jerry Herman's autobiography was Showtune, and if there ever was a Broadway composer who wrote good, old-fashioned, hummable show tunes, it was Jerry Herman.

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The scores of Be More Chill, Beetlejuice, Hadestown, The Prom, To Kill a Mockingbird and Tootsie are all up for Tony Awards at the 73rd annual awards show.

Two of the country's oldest and most venerated music institutions, the New York Philharmonic and the Metropolitan Opera, are beginning their seasons with a change in artistic leadership. Both organizations are grappling with 21st century issues of bringing new audiences in and convincing them that centuries-old music forms are central to their lives today.

Editor's note: This story includes language that some may find offensive.

It was 1968. But playwright Mart Crowley felt he had to write what he knew.

"Nobody wanted the play," Crowley says. "Not even agents wanted to look at this play. They just thought it was pornographic and it was outrageous."

What he wrote in The Boys in the Band was a thinly veiled slice of autobiographical fiction. A group of gay friends gather for a raucous birthday party; by the end of the evening, secrets are spilled, tears are shed.

One of the oldest and most distinguished Spanish language theaters in the U.S. is housed in a converted Manhattan brownstone. "It started actually as a private house," explains Robert Federico, executive producer of Repertorio Español.

The space is tiny — rickety wooden stairs lead backstage and small props are stored in the hallway. The sets are designed to be stashed flush against walls behind black curtains.

Jerry Bergman is sitting in the audience at a Broadway matinée performance of The Band's Visit. Despite the fact that a huge sign above the stage tells the audience — in English, Hebrew and Arabic — to turn off cellphones, Bergman is keeping his on so he can read closed captions while watching the show.

He is one of an estimated 48 million Americans who have some degree of hearing loss. And he is availing himself of new technology that allows deaf and hearing-impaired people to enjoy shows with something most people have in their pocket — a smartphone.

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We Shall Not Be Moved is a new opera that takes its name from both the old spiritual-turned-civil-rights anthem and the Philadelphia black liberation group, MOVE. That group might be best-remembered for a 1985 tragedy: A police helicopter bombed the MOVE house, and the resulting fire killed 11 people and destroyed 62 homes in the neighborhood.

The opera, presented by Opera Philadelphia with the Apollo Theater, had its world premiere Sept. 16. It revisits that house and its ghosts, while remaining centered on stories about young people in Philadelphia today.

Legendary theater director Sir Peter Hall might have ended up the grand old man of British theater, but he came from modest beginnings — Hall was born in 1930 in Suffolk, England to a father who was a railway clerk, and his family lived in a house without electricity.

Hall went on to run two of the most important theater companies in England — the Royal Shakespeare Company and the National Theatre — and directed Waiting for Godot and Amadeus, among dozens of plays, old and new.

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One of the ingredients a successful Broadway show needs is a talented cast. That starts with talented casting directors, the people who can see a Tony-winning star in the making, say, when a performer walks into an audition as a college student named Audra McDonald.

Tony Award-winning actress and singer Barbara Cook, an ingénue in Broadway's Golden Age — during the 1950s and '60s — who later transformed herself into a concert and cabaret star, has died. She was 89.

Cook died early Tuesday of respiratory failure, surrounded by friends and family at her home in Manhattan, according to her publicist.

Russian, American and French ballet dancers are gathering Thursday night for a bit of cultural diplomacy at New York City's Lincoln Center. They're celebrating the 50th anniversary of George Balanchine's masterpiece Jewels, considered the first full-length, nonnarrative ballet.

Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee died in 2016, and since then his estate has turned down a multi-racial production of Who's Afraid of Virginia Woolf? and put his contemporary art collection up for auction for an estimated $9 million.

Lillian Hellman's 1939 melodrama The Little Foxes has two great roles for actresses over the age of 40. Laura Linney and Cynthia Nixon fill those roles in a new revival on Broadway ... but with one big twist: Linney and Nixon play both roles and switch off at different performances.

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A recent lawsuit brought by a blind theatergoer against the producers of the hit musical Hamilton has highlighted Broadway's spotty track record in serving audiences with disabilities.

A theater company in Brooklyn, N.Y., recently decided to do a social experiment: Put seven cops and seven civilians in a rehearsal room once a week to really get to know one another. Then, after 10 weeks, ask them to put on a show.

Christmas is coming, and soon TV screens everywhere will light up with that 1946 holiday classic, It's a Wonderful Life. But the same story is coming a little early to the stage of the Houston Grand Opera. That's right: An operatic version of George Bailey's struggle with life and death opens this Friday.

Librettist Gene Scheer admits that adapting such a beloved movie has sometimes felt like a fool's errand. "It's almost secular scripture, this piece," he says. "Everyone knows all the lines."

Edward Albee, the three-time Pulitzer Prize-winning playwright of Who's Afraid of Virginia Woolf? among many others, died Friday at the age of 88 following a short illness, according to his longtime personal assistant.

You might not know Marni Nixon's name, but you've probably heard her. The singer dubbed the voices for Deborah Kerr in The King and I, Natalie Wood in West Side Story and Audrey Hepburn in My Fair Lady — three of Hollywood's biggest movie musicals.

Nixon died Sunday at 86 from complications from breast cancer.

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Last night, the 70th annual Tony Awards were presented in New York City. And the events here in Orlando earlier in the day were addressed at the very beginning of the show by host James Corden.

(SOUNDBITE OF ARCHIVED RECORDING)

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By now, you may have heard about the new Broadway musical Hamilton. When it opened off-Broadway in February, it earned almost unanimous raves and awards for blending history and hip-hop. Its sold-out run had A-list celebrities and politicians clamoring for tickets. Thursday night, the story of Alexander Hamilton, and the Founding Fathers and Mothers, opened on Broadway.

Broadway is New York's biggest tourist attraction and brought in $1.3 billion in ticket sales last season. But it's also a high-stakes gamble for producers, since only 1 in 4 Broadway shows turns a profit. This month, two of the fall's most highly anticipated musicals, a revival of Side Show and The Last Ship, with songs by Sting, have thrown in the towel — closing, having lost almost their entire investments.

New York is saying goodbye to another historic building. Steinway Hall, the main showroom for Steinway & Sons pianos, will be moving to a new location, leaving its home of almost 90 years on 57th Street near Carnegie Hall. The first floor has been designated a landmark and will be preserved, while the rest of the building will be torn down to build high-rise luxury condominiums.

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