"How do you measure," Jonathan Larson's lyrics from Rent asked, "measure a year?" Dori Berinstein's inspired answer is SHOW business-a chronicle of a year in the life of Broadway. The film tracks four original musicals: Wicked, the clever retelling of The Wizard of Oz from the witches' perspective; Avenue Q, in which puppets behave like, well, unemployed twentysomethings; Taboo, Boy George and Rosie O'Donnell's '80s extravaganza; and the pedigreed Public Theater transfer Tony Kushner's Caroline, or Change. By virtue of her unique stage door access to these shows and a host of others, Berinstein expertly conveys the creative and technical challenges of preparing a production for the twelve-block territory known as Broadway. As we follow each of these shows from inspiration to opening night, the truth of the notion that theater rests on the passion of its practitioners is borne out. And throughout the film, we hear directly from those arbiters of our own ticket-buying decisions, the seemingly all-powerful New York critics. Putting faces, and overblown pronouncements, to the bylines is almost as much fun as watching some of their Tony predictions proven wrong. And speaking of the Tonys, a.k.a. the "finish line"-what a horserace it was last year. Would the groundbreaking Caroline, or Change best the upstart puppet show? Would either one have a chance against the million-dollar babies, Taboo and Wicked, and their marketing budgets? It was an unforgettable upset, and it is even more exciting from this vantage point. As one insider puts it-the risk/reward economics of theater are brutal. There's only one reason that people continue to produce it, and that reason is love, which is skillfully embroidered all over SHOW business.