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

I thought one of the cool things I could do on this blog would be to show how my material evolved from demo recordings to finished product.

I’m really crazy with work these days (everyone should have such problems), so this blog will seem a little bit random, but I thought these were both fun tracks so you can think of this as my Happy Memorial Day Blog 2006.

To celebrate the publication of “The Jason Robert Brown Collection,” two previously unreleased recordings of songs you’ll find in that book.

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.

Wow. The first time I logged on to the Internet was in 1998, and shortly thereafter was the first time someone suggested I get my own website.

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.

Strange. Brave. Incongruous. Any of these descriptions might apply to the Los Angeles Master Chorale’s final concert this season, titled "The New Broadway: Sondheim and Generation Next."

ls exclusief nieuwjaarscadeautje voor de bezoekers van Musical Fan wilde de redactie een hele speciale, internationale ‘In de schijnwerpers’.

Jason Robert Brown, composer of "The Last Five Years" and winner of the Tony award for his score to "Parade" will be performing along with some hot-stuff Broadway talent, including Carolee Carmello, Brian d’Arcy James, and Darius deHaas, on April 26, 8pm, at Le Jazz Au Bar, 41 E. 58th [Park/Mad] 212.308.9455.

You’d think that any young composer who’d been plucked from relative obscurity to replace Stephen Sondheim in a new Broadway musical, then landed a Tony Award for his efforts, would thank his lucky stars.

HAVING already left an indelible mark on this year’s Adelaide Cabaret Festival with two remarkable but very different shows, New York composer Jason Robert Brown once again delivered the goods to bring this year’s event to a rousing finale.

Tomorrow at Belmont Park, a horse named Supervisor will line up for the Belmont Stakes. At odds of 50 to 1, he is almost certain to trot home a loser.

An essay that JRB contributed to the souvenir program of the Kennedy Center Celebration of Stephen Sondheim, June 2002.

A FUNNY thing happened to the modern musical on its way to the theater: it became serious – boy usually doesn’t get girl anymore – and the endings are not always neat and tidy. Has musical theater changed in any lasting way? Must an audience always leave a show humming?

Jason Robert Brown is arguably the best of America’s bright new musical theatre composers. His talents can currently be seen at the Bridewell Theatre, who present the European premiere of his first show, Songs for a New World‚ until 15 September.

I am sure that Jason Robert Brown is as tired of references to his age as he is to his being labeled part of the current ‘Bratpack’ of musical theater writers.

InTheater asked a distinguished group of artists, producers, and critics to share their thoughts on theater at the turn of the millennium. Parade’s Harold Prince and Jason Robert Brown were among them.

Lincoln Center Theater’s Platform series presents conversations with artists working at LCT before an audience of interested theatergoers. Admission is free and open to all.