Jeff Lunden

In 1943, two 25 year olds — Jerome Robbins and Leonard Bernstein — were about to rock the ballet world. The dance they collaborated on was Fancy Free — about three sailors in a bar, trying to meet women before they ship out to World War II.

"It's such a wonderful little sweet picture of that time ..." says Christine Redpath, one of four ballet masters Robbins chose to stage his work. "It's playful, and they're just fun and innocent. They don't know what's going to happen when they go off to war."

The most expensive play in Broadway history opened Sunday night. Harry Potter and the Cursed Child cost $33.5 million, runs five and a half hours long (in two parts), and has gotten rave reviews. But while it has plenty of special effects, it's actually designed for audiences to use their imagination.

Since the Disney animated musical Frozen premiered five years ago, the song "Let It Go" has been inescapable. Even the daughters of its songwriters were a bit tired of it.

"Like many people in our culture, there was a feeling of Frozen fatigue, if you will," says co-songwriter Kristen Anderson-Lopez.

Sing Sing Correctional Facility is not the sort of place you'd expect to find a flourishing music community, but a workshop run by Carnegie Hall offers inmates the ability to learn in harmony. Twice a month, artists from New York City travel to Sing Sing and spend a day giving 30 inmates enrolled in the Musical Connections program formal training.

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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ROBERT SIEGEL, HOST:

Several years ago, Claire van Kampen was composing music for a London theater production. During a break, one of the singers asked her if she knew the story of Farinelli, the famous 18th century opera singer.

"'You'd really like the bit where he goes to Spain and sings to King Phillipe who has this bipolar disorder.' And then I started to think: Now that's an interesting story that I haven't heard about, seen."

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MICHEL MARTIN, HOST:

When playwright Sarah DeLappe was growing up, she loved war movies. So she decided to write a play that was like a war movie – but about girls soccer.

The Wolves opens at New York's Lincoln Center on Monday. As the lights come up, nine teenage girls are in a circle atop a green expanse of artificial turf, stretching before a match. And they're all talking at once.

When songwriter David Yazbek, whose mother is Jewish and father Lebanese, decided to write a musical that fused his two cultural backgrounds, he knew he didn't want it to be about tribal conflict.

His new Broadway show, The Band's Visit, attempts to do something that seems almost unfashionable: look at two historically antagonistic cultures and tell a story about their commonality.

The Hebrew Psalms have inspired composers for thousands of years.

Now, New York's Lincoln Center is presenting The Psalms Experience, a festival of choral settings of all 150 Psalms by 150 different composers. It includes nine U.S. premieres.

Over the years, many authors have dealt with alcoholism, addiction and recovery — think of plays like Long Day's Journey into Night, or films like Days of Wine and Roses. Now a new play from England joins them: People, Places & Things takes an unsentimental and, at times, harrowing look at addiction and recovery.

Cheryl Strayed — author of the bestselling memoir Wild — was still an unknown writer when she started an anonymous advice column called "Dear Sugar." She remembers reading and writing things "that we don't normally say to people in the public space," she recalls — and those intimate exchanges made her explore her own life more deeply. "I always think of the 'Dear Sugar' column as, like, therapy in the town square."

The New York City Ballet's costume shop is located on the eighth floor of a building in Lincoln Center. There are spectacular views of the Hudson River, but no one's looking out the windows. They're all working with a quiet intensity.

"It's a shop full of 18 people," says Marc Happel, the City Ballet's director of costumes. "Amazing craftspeople, machine operators, hand stitching, we have three drapers. I mean the level of costume-making here is probably the highest you could get."

Many plays have been called "kitchen sink" dramas because of their attempts at realism, but Oh My Sweet Land takes that to the extreme. It uses not just the sink but also the stove, the refrigerator, a chopping board and a very big knife — and it's being performed in kitchens across New York.

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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ARI SHAPIRO, HOST:

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 composer John Kander has a favorite story about Broadway producer and director Harold Prince: In 1965, he and lyricist Fred Ebb were working on a show that Prince produced called Flora, The Red Menace and it was not going well.

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.

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LULU GARCIA-NAVARRO, HOST:

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.

For generations of children, the Eloise book series is a favorite. It tells the story of a 6-year old troublemaker who lives at New York's Plaza Hotel. Now "Eloise at the Museum," an exhibition at the New York Historical Society, looks at the creators of the series: author Kay Thompson, who died in 1998, and illustrator Hilary Knight, who's now 90.

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.

Seventy-four high school singers and dancers, selected from a pool of 50,000 kids across America, recently came to New York City to strut their stuff. They were participants in the Jimmy Awards, which honor the best high school musical theater performers from around the country.

Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: 1984 has come to Broadway. George Orwell's dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.

After a recent performance of 1984, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. "Big Brother is watching us, that's for sure ..." she says. "Little did we know that that was going to be reality."

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AUDIE CORNISH, HOST:

On Sunday night the spotlight will be on Broadway stars at the 71st annual Tony Awards. The evening also includes honors for some people behind the scenes — writers, directors and designers, for example — but there are many more, working backstage, who aren't eligible for Broadway's highest honor.

If you peek into the wings at a Broadway show, you're likely to find a stage manager, sitting at a desk with video monitors and lots of buttons and switches. He or she will be wearing a headset — sometimes called "the God mic" — to communicate with the cast and crew.

It all started when a director and producer from a tiny theater in Portland, Ore., posted a message on Facebook; he was outraged that the Edward Albee estate wouldn't grant him rights to produce Who's Afraid of Virginia Woolf? because he'd cast a black actor in one of the roles. His post went viral, and a firestorm ensued.

Creating a hit musical which appeals to family audiences is kind of Broadway's holy grail — think current long-running shows, like The Lion King and Wicked, which have run for decades, or earlier shows like Cats and Annie. Critics don't always give these shows good reviews, but that doesn't seem to matter much. Now, two new musicals are aiming to get the kid stamp of approval.

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