It’s one of the things that I’m sort of glad it exists. Just for your kids — your kids really don’t know much about your life, you know? We had our kids late, I was 40 when our first son was born, and they showed a healthy disinterest in our work over all the years. They had their own musical heroes, they had their own music they were interested in. They’d be pretty blank-faced if someone mentioned a song title of mine, and I always looked upon that as that we did a good job. I know that none of my kids have read the book, though I imagine someday they will perhaps. I kind of like that. My job, it’s a strange job, it’s an eccentric line of work. And it’s not comparable to anything else and it can be difficult to be around it. As I say in the book, I know a lot of kids who wouldn’t mind seeing 50,000 people boo their parents. But I don’t know how many would want to see those people cheer their parents. It’s just not right (laughs).

The book explains that you’ve always been a musician. You never really had a 9-to-5 job. But “Springsteen on Broadway” is five nights a week for five months. It’s steady work.

That’s a real job. This is my first real job, I think (laughs). That’s the one thing I’m going into with a certain sense of faith. I go, well, I’m not using myself so totally physically on a nightly basis. And I’m not using my voice — you know, you’re not screaming. But the mental energy that it takes to do it is the same. People come to see you be completely, completely present. Any time you’re trying to do that, it takes a lot of energy.

You say the show and stories are locked in — won’t that become repetitive for you?

I’ve played “Born to Run,” many, many times. I’m sure if we went on the internet we could find out how many. (laughs) But the key is, you have to approach it not as a repetition but as a renewal. And to do that your spirit has got to be 100 percent present. But it’s a new audience every night. There’s new faces, there’s new opportunities. Those songs have been very good to me over the years, and in return I try to be good to them. So you have a chance of renewing the emotion and the spirit in that music on a nightly basis. That’s the place I work to get to every night when I’m onstage. I think that if the foundation of what you’ve built is built well, you’ll be able to inhabit it on a nightly basis and your audience will come in and it will feel like they’re seeing it for the first time. (laughs) That’s my plan, anyway.