Jeff Lunden

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.

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.

You might think they go together like oil and water, or chalk and cheese.

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.

At the Metropolitan Opera, drama is usually onstage. But for the past several months, it's been in the newspapers.

Contract deadlines for 15 of the 16 unions at the Met in New York are set to expire at midnight tonight, and negotiations will likely go down to the wire. A lockout shutting down the world's largest opera house seems imminent.

Management wants concessions from the unions to offset dwindling ticket sales. Union employees think they're being asked to pay for unchecked spending.

When an opera company is in the midst of contentious labor negotiations, the results can be dramatic. This week, the war of words between unions and management at New York's Metropolitan Opera, the world's largest opera company, escalated. An Aug. 1 shut down now seems likely.

At the center of the debate is the ballooning Met budget, which stood at $200 million in 2006 but has since climbed to more than $325 million. Met General Manager Peter Gelb asserts that union salaries and benefits are his biggest costs, accounting for two-thirds of the operating budget.

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.

Sheldon Harnick has been a working lyricist for over 60 years. He shared a Pulitzer Prize for his work on the musical Fiorello! and a Tony Award for Fiddler On The Roof. But he says a career in the theater means writing some songs that, for whatever reason, don't make the show.

"Sometimes, the song was changed because a scene was changed and it no longer accommodated the song," Harnick says. "So, sometimes there had to be a new song."

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.

Alan Gilbert, music director of the New York Philharmonic, isn't scared of new music — and he doesn't think audiences should be, either.

"Frankly, the reason I do new music is I like a lot of it," Gilbert says.

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.

Even before he finished his eight-film run as Harry Potter, actor Daniel Radcliffe spent a considerable time devoted to the stage, both in London and New York. He appeared on Broadway in Equus and spent a year playing J. Pierrepont Finch, the lead role in the musical How to Succeed in Business Without Really Trying.

On Sunday night, the 24-year-old actor opens at Broadway's Cort Theatre in a production of Martin McDonagh's dark Irish comedy, The Cripple of Inishmaan.

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.

A hundred years ago, the Italian operatic composer Giacomo Puccini was having lunch in New York with Victor Herbert, the leading composer of operettas in this country. Then, the band in the restaurant began playing music from Herbert's current hit, Sweethearts. Puccini became outraged, according to songwriter Paul Williams, the current president of the performing-rights organization ASCAP.

Mukhtar Mai is from a small tribal village in Pakistan. In 2002, her brother was accused of sexually molesting a woman from a wealthy land-owning clan. What happened next was horrifying, says singer and composer Kamala Sankaram.

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.

Leonard Bernstein was a singular American genius. One of the great orchestra conductors of the 20th Century, he was also a composer of hit musicals like West Side Story, as well as symphonies and ballets. He was a teacher and television personality — his Young People's Concerts introduced generations of children to classical music.

Broadway composer John Kander is a living legend: With his songwriting partner, the late Fred Ebb, he created the scores for the smash hit musicals Cabaret and Chicago, as well as the enduring anthem "New York, New York."

Now, at 86, Kander has a new writing partner — and a new musical, The Landing, opening off-Broadway Wednesday.

"Life Goes On"

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.

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?' "

Matilda is a well-loved book by Roald Dahl, who's been called the greatest children's storyteller of the 20th century. It's about a much-put-upon little girl with tremendous gifts. Now, Matilda has been turned into a Broadway musical.

The British import, which won last year's prestigious Olivier Award and features a revolving cast of four little girls in the lead role, opens in New York tonight.