Jason Robert Brown

On stage 1 production

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Also credited on6 works

13
Honeymoon in Vegas
Parade
The Bridges of Madison County
The Last Five Years
The Last Five Years

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• Jason Robert Brown’s “Christmas Lullaby” from Songs for a New World and Jerry Bock and Sheldon Harnick’s “Matchmaker, Matchmaker” from Fiddler on the Roof illustrate two different treatments of the use of passing tones (figures 1.51a and 1.51b ). In the case of “Christmas Lullaby,” accented passing tones serve as an ornament on a monosyll…ebooks/Bell, John & Chicurel, Steven R_/Music Theory for Musical Theatre - John Bell & Steven R. Chicurel.txt
• “A New World” from Jason Robert Brown’s Songs for a New World provides an interesting example of a strong modulation from E-flat major to B-flat major. Note that the E-flat major chord in measure 68 (the tonic or I) is also a IV in the destination key of B-flat major. The addition of an F pedal point in the bass (dominant reinforcement of…ebooks/Bell, John & Chicurel, Steven R_/Music Theory for Musical Theatre - John Bell & Steven R. Chicurel.txt
• An exploration of Jason Robert Brown’s “Stars and the Moon” from Songs for a New World yields numerous possibilities for a deeper understanding of the musico/textual gesture and a more fully realized performance.ebooks/Bell, John & Chicurel, Steven R_/Music Theory for Musical Theatre - John Bell & Steven R. Chicurel.txt
• 4 . Jason Robert Brown has expressed his intention that the character singing this song “is meant unequivocally to be a woman.” However, the authors believe that any text that does not explicitly state details such as gender, location, or historic period can be interpreted and executed out of context (as in a cabaret setting) and free the…ebooks/Bell, John & Chicurel, Steven R_/Music Theory for Musical Theatre - John Bell & Steven R. Chicurel.txt
• Parade, Jason Robert Brown's musical about Leo Franks that was produced by the Lincoln Center Theatre in 1997, did have humorous elements, like an extended number in which Franks, who was accused of having lascivious thoughts about the young women who worked for him, performs in a fantasy dance based on his enemies' lewd idea of him. Only…ebooks/Engel, Lehman/Words with Music_ Creating the Broadway Musical Libretto - Lehman Engel.txt
• Not some duet. “I’d Give It All for You” from Jason Robert Brown’s seminal Songs for A New World . We recorded it in the soprano key, even though it’s usually for a (normal) guy’s and girl’s voices. On us, it ended up sounding like a lesbian rock ballad. But still.ebooks/Federle, Tim/Better Nate Than Ever - Tim Federle.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Which of the credits above the roles on this record — composer, lyricist, book writer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.