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It hadn’t occurred to me that anyone would offer to do another cast album for Parade.

To compare the ecstatic critical reception of the Donmar production of Parade that just opened to the considerably more reserved response nine years ago.

Though Andrew Lloyd Webber and Boublil and Schonberg may be commanding bigger worldwide audiences for their shows.

An interviewer actually chided me the other day for not updating my blog more often.

Sometimes on long flights, the person sitting next to me will notice that I’m editing music on my computer and ask what sort of music I write or something like that.

I’ve played a couple of really cool places in my time.

The siren call of possibility echoed from the stage at Strathmore on Wednesday, when Jason Robert Brown’s Songs for a New World received a glitzy concert staging, co-produced by Signature Theatre.

I saw three shows this week while I was in New York.

The title of this entry is based on an entirely unjustified optimism that I’ll do one of these every month. Wagers are being taken.

There are few more inviting places on a cold winter night than the Allen Room at Frederick P. Rose Hall: its sweeping views of Central Park South capture, to paraphrase WALTER WINCHELL, New York at its New Yorkiest.

I got an email on December 11, 1999.

At Birdland last night, composer and lyricist Jason Robert Brown had the crowd doing something many of his fans might find surprising: laughing.

A ticket to a Broadway show costs over a hundred dollars. I think for that amount of money, you should be guaranteed a flawless performance with the entire original company.

Everyone knows Jason Robert Brown is a wildly talented songwriter. His personal reputation is a different story.

Composer and lyricist Jason Robert Brown hasn’t always had an easy time fitting in. Neither have his characters.

It was a very emotional and draining concert. Benanti sang gorgeously, and Rozz was unbelievable at bringing “Stars and the Moon” and “Mr. Hopalong Heartbreak” to life in a very new way.

Here’s what you have to know: there were about forty critics in the house today, as best as I can tell. I didn’t look at them, I didn’t talk to them, I haven’t heard anything about what they may or may not write.

I’m sitting in the middle of tech rehearsal at the Taper. They’re lighting the section of “Being A Geek” where Evan goes into the audience. Oh, wait, I’m giving things away. Ignore that sentence.

The phrase “triple threat” has become so overused in show-business circles that it’s great to encounter someone who truly deserves it.

So far, every aspect of casting “13” has come with a phalanx of caveats.

This folio commemorates the tenth anniversary of my professional debut as a songwriter for the musical theater. It’s been an exhilarating, intense and unpredictable ten years, and all the songs in this book are part of that story.

Hey y’all! Eventually, we’ll be able to post these directly to the “ASK JRB!” page, but while we’re busy setting up the rest of the site, I thought I’d just send these out now! You asked some really great questions, and I had a lot of fun writing subtly evasive answers.

It’s what you always hope for but so rarely get: pure, unmediated theatrical ecstasy.

The following is from a programme note, written by JRB for his 2005 Christmas engagement at the New Players’ Theatre in London.

“It goes song, song, song, song, intermission, song, song, song, lynch,” quipped Jason Robert Brown at a recent one-night-only singer-songwriter concert of his work at North Hollywood’s El Portal Theatre.