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・ Jason Richwine
・ Jason Ridge
・ Jason Riley
・ Jason Riley (journalist)
・ Jason Ringenberg
・ Jason Ritter
・ Jason Rivers
・ Jason Rivers (American football)
・ Jason Rivers (dermatologist)
・ Jason Roach
・ Jason Roach (baseball)
・ Jason Roach (curler)
・ Jason Roach (rugby league)
・ Jason Robards
・ Jason Robards, Sr.
Jason Robert Brown
・ Jason Roberts
・ Jason Roberts (author)
・ Jason Roberts (footballer)
・ Jason Roberts (guitarist)
・ Jason Roberts (indie musician)
・ Jason Roberts (weightlifter)
・ Jason Robertson
・ Jason Robinson
・ Jason Robinson (cricketer)
・ Jason Robinson (musician)
・ Jason Rockett
・ Jason Roe
・ Jason Roeder
・ Jason Rogel


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Jason Robert Brown : ウィキペディア英語版
Jason Robert Brown

Jason Robert Brown (born June 20, 1970) is an American musical theatre composer, lyricist, and playwright. Brown's music sensibility fuses pop-rock stylings with theatrical lyrics.〔Holden, Stephen.("Drive and Insecurity Meet, Creating Sparks at the Piano" )''The New York Times'', June 29, 2005〕 An accomplished pianist, Brown has often served as music director, conductor, orchestrator, and pianist for his own productions. He has won Tony Awards for his work on ''Parade'' and ''The Bridges of Madison County''.
==Career==
Brown grew up in the suburbs of New York City, and attended the Eastman School of Music in Rochester, New York for 2 years.〔Weber, Bruce.("If Only the Cool Kids Could See Him Now (at Least Hear His Songs)" )''The New York Times'', October 1, 2008〕 During summer, he attended French Woods Festival of the Performing Arts in Hancock, New York. He said ''Sweeney Todd: The Demon Barber of Fleet Street'' and ''Sunday in the Park with George'' were two of his biggest influences, and had it not been for them, he would have joined a rock band and tried to be Billy Joel.
When Brown was 23, he and a friend were invited to see a musical by Stephen Sondheim himself. At the show, they sat in front of The New York Times' Frank Rich. They went to dinner, and after twenty minutes, Sondheim asked them what they thought of the show: they both were silent. Brown described the dinner after that moment as "many extremely awkward silences punctuated by bursts of frantic, desperate conversation about anything other than the slaughtered elephant in the room." Brown called mutual friend Daisy Prince the next day, asking if there might be any way to repair the damage after the dinner. She and her family decided that Brown should call Sondheim. Brown paraphrased what Sondheim said:
Nobody cares what you think. Once a creation has been put into the world, you have only one responsibility to its creator: Be supportive. Support is not about showing how clever you are, how observant of some flaw, how incisive in your criticism. There are other people whose job it is to guide the creation, to make it work, to make it live; either they did their job or they didn't. But that is not your problem.
If you come to my show and you see me afterward, say only this: "I loved it". It doesn't matter if that's what you really felt. What I need at that moment is to know that you care enough about me and the work I do to tell me that you loved it, not "in spite of its flaws", not "even though everyone else seems to have a problem with it", but simply, plainly, "I loved it." If you can't say that, don't come backstage, don't find me in the lobby, don't lean over the pit to see me. Just go home, and either write me a nice email or don't. Say all the catty, bitchy things you want to your friend, your neighbor, the Internet.
Maybe next week, maybe next year, maybe someday down the line, I'll be ready to hear what you have to say, but at that moment, that face-to-face moment after I have unveiled some part of my soul, however small, to you: that is the most vulnerable moment in any artist's life. If I beg you, plead with you to tell me what you ''really'' thought, what you actually, honestly, totally believed, then you must tell me "I loved it." That moment must be respected."

He began his career in New York City as an arranger, conductor, and pianist, working on shows such as William Finn's ''A New Brain'', and playing at several nightclubs and piano bars in the city. ''Songs for a New World'' marked the first major New York production of Brown's songs. An off-Broadway revue with a limited run, the show was directed by Daisy Prince, daughter of director/producer Hal Prince, and featured the 25-year-old Brown's pop-rock-influenced music.〔( 'Songs for a New World' listing ) lortel.org, accessed February 1, 2010〕 The song "Stars and the Moon" has since become a cabaret standard, and is probably Brown's best-known composition to date.〔
Brown was introduced to Harold Prince through his association with Daisy Prince, and was hired to write songs for the Broadway musical ''Parade'', based on the trial and lynching of Leo Frank. ''Parade,'' directed by Hal Prince, and with a book by Alfred Uhry, won Brown the 1999 Tony Award for Best Original Musical Score.〔(Internet Broadway Database listing, Brown ) ibdb.com, accessed February 1, 2011〕 During this production, Livent, one of the producers of ''Parade'', pulled out after reviews were not as positive as they'd hoped. RCA Victor, the other major producer, decided it would pull out as well. Brown said of the event in 1999, "Livent dropped out shortly after the reviews came out. They announced they would not spend another dime on the show. RCA had an agreement to record all of Livent's shows. But when Livent pulled out of 'Parade,' the RCA higher-ups said they were pulling out, too. I had to go to Billy Rosenfield and ask him: 'What if we pay for this record and you just distribute it?' Billy said, 'Sure.'" Brown had to try to scrounge money from every corner, "In the end, RCA put in $25,000, Lincoln Center put in a big chunk, around $200,000, including the producer Scott Rudin's $25,000, and there was a contribution from the Gilman and Gonzalez-Falla foundation, which has helped support a lot of musical theatre composers over the years, of $40,000. Even Roy Furman, the new guy at Livent, gave us a little money. Somehow, we pulled it together." Livent also was struggling at the time because the company had mishandled funds while allying for bankruptcy protection.
Brown went back to working with Daisy Prince for his third major show ''The Last Five Years'', for which he wrote the book as well as songs. Inspired by his own failed first marriage, the show is a two-person musical which tells the history of a relationship from two different perspectives. The male's narrative begins at the beginning of the story and progresses through marriage, infidelity, and divorce, while the female narrative begins at the end of the relationship and ends with the couple's first date; the two actors' only direct interaction takes place midpoint, during the wedding sequence.〔Sommer, Elyse ("A CurtainUp Review, 'The Last 5 Years' " ) curtainup.com, March 5, 2002〕 The original Chicago cast consisted of Norbert Leo Butz and Lauren Kennedy, with Sherie Rene Scott over the New York run. ''The Last Five Years'' received mixed critical reviews and was not a commercial success, lasting only two months off-Broadway, although Brown garnered 2 Drama Desk Awards for music and lyrics. Additionally, due to the cast recording featuring Scott and Butz, the show has gained popularity among contemporary musical theatre aficionados and is an oft-performed piece in regional and community theatres.〔( 'The Last Five Years' listing ) lortel.org, accessed February 1, 2010〕〔Holden, Stephen.( "A Composer Sells His Songs and Himself" )''The New York Times'', February 12, 2007〕
Brown contributed several songs to the Broadway flop ''Urban Cowboy''. He had worked as an orchestrator with director Phillip Oesterman on the Off-Broadway musical ''New York Rock'', and Oesterman called on him to help him out with ''Urban Cowboy''. ''Urban Cowboy'' had been denied the use of the Clint Black catalog, and Brown came in and wrote a few songs (with help from director Lonnie Price, who replaced Oesterman after he died). The show was nominated, with 30 other composers, for the 2003 Tony Award for best Musical Score, losing out to ''Hairspray.''〔〔Simonson, Robert.( "Urban Cowboy to Close on Broadway March 29; Will Tour in 2004" ), playbill.com, March 28, 2003〕
In June 2005, Brown released a solo album, entitled ''Wearing Someone Else's Clothes''.〔("Wearing Someone Else's Clothes" listing ) amazon.com, accessed February 1, 2010〕
In December 2005, his ''Chanukah Suite'' received its world premiere with two performances by the Los Angeles Master Chorale at the Walt Disney Concert Hall.〔(Notes for Chanukah Suite ) seattlechoralcompany.org, ca 2009, accessed February 1, 2010〕
He also teaches courses in musical theatre performance and composition at the University of Southern California. Brown is an active performer of his own work, singing and playing the piano with or without his band, the Caucasian Rhythm Kings (Gary Sieger, guitar, and Randy Landau, bass).〔
Brown's tween-oriented musical ''13'' premiered at the Mark Taper Forum in Los Angeles, CA on January 7, 2007. It opened on Broadway October 5, 2008 at the Bernard B. Jacobs Theatre, and closed on January 4, 2009.〔〔
His ''Bridges of Madison County'', a musical adaption of the film with Marsha Norman〔("Jason Robert Brown to Bring '13' 'The Last Five Years' to Screen More" ) broadwayworld.com, December 27, 2010〕 premiered at the Williamstown Theatre Festival on August 1, 2013. Directed by Bartlett Sher, the cast featured Elena Shaddow as Francesca and Steven Pasquale.〔Hetrick, Adam. (" 'The Bridges of Madison County', Starring Steven Pasquale and Elena Shaddow, Premieres at Williamstown" ) playbill.com, August 1, 2013〕 The musical opened on Broadway on February 27, 2014, at the Gerald Schoenfeld Theatre, starring Kelli O'Hara as Francesca.〔Hetrick, Adam. (" 'The Bridges of Madison County', Starring Kelli O'Hara and Steven Pasquale, Sets Broadway Opening Night" ) Playbill, August 20, 2013〕
According to Brown, Brian Lowdermilk used to be an assistant to him. Brown has recently publicized his personal efforts to discourage the unauthorized online sharing of his copyrighted sheet music via an e-mail conversation with a teenager named Eleanor.〔

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