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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.

In any composer’s official biography, by which I mean the self-written essay which is included in the Playbill or inside the press kit or on the website.

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 spent the last four days writing the opening number to Honeymoon In Vegas.

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’m in the house today making rehearsal tapes for the cast members of the really exciting production of Songs for a New World that we’re doing next month, and it put me in mind of the origins of some of this material.

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.

Soon after I got to New York, I passed by the Broadhurst Theater and noticed that a new play by Neil Simon was opening.

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.

This week marks the first time since May of 2001 that I’ve had a new show go into rehearsal for a production.

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

Oh, I suspect there are many things in the world that can be blamed on Larry Blank, but only some of them are musical, and this is the story of one of those things.