/* Mobile Menu Retract ---------------------------------*/


When a producer asks to see your musical…you need to be ready, right?  But where are you going to go to find out everything you need to know before your musical is ready for production?  Things like how to approach producers (and how NOT to), and collaboration agreements, contracts, pitfalls of marketing through social media, over-produced demos/under-produced demos…or the new exciting trends of multi-ethnic casting?  Is there one place you can go to get ready?  There is!


New Musicals Inc.’s Sixth Biennial Conference on the BIZ of the Musical Theatre BIZ.  

In Los Angeles, July 22-24.

Musicals and Audiences are Changing. Get Ready.

The emerging post-pandemic world is going to be VERY different. This conference is designed to help you prepare for the demands of the future. Masks. Pronouns. Diversity. Metaverse.

Join us for a transformational ALL VIRTUAL weekend designed to help the musical theatre writer create in and for a whole new world.

BONUS OPTION: After spending the weekend learning about what producers are looking for; registered teams can get the opportunity to pitch directly to panels of Industry Professionals during the weekend of July 30/31.

All registered teams will also have the opportunity to create a website page on the NMI site which will shared with all of our Industry guests.

See the COMPLETE SCHEDULE below. NOTE that all times are Pacific Daylight Time (PDT).

Below is a listing of some of the panelists for this year.   We are just now scheduling and confirming with a lot of exciting folks, so check back here often to see the list grow!


Confirmed Panelists:

Margot Astrachan  (Owner, Margot Astrachan Production)
Joe Barros  (Artistic Director, New York Theatre Barn)
Michael R.  Blaha  (Entertainment Attorney)
Michael Cassara  (Owner, Michael Cassara Casting)
Elise Dewsberry  (NMI Artistic Director)
Gordon P. Firemark  (Entertainment Attorney)
Brian Graden  (Producer, Brian Graden Media)
Scott Guy  (NMI Executive Director)
Joshua Katzker  (PiTCH Coordinator/Artistic Associate, The Rev Theatre Company)
David Kurs  (Artistic Director, Deaf West Theatre)
Cody Lassen  (Producer, Cody Lassen and Associates)
Josefina Lopez  (Artistic Director, Casa0101 Theater)
Rebecca Lowrey  (Producing Director, MusicalWriters.com)
Joey Monda  (Partner, Sing Out Louise Productions)
Kent Nicholson  (Director of Acquisitions and New Works, Broadway Licensing)
Paige Price  (Independent Producer)
Kalani Queypo  (Actor, Filmmaker, Writer)
Jen Sandler  (Associate Artistic Director, New York Theatre Barn)
Christopher Sepulveda  (Producer, Apples and Oranges Arts)
Philip Seward  (Composer, Creator of NMI's MUSIC LAB)
Michael Shepperd  (Director/Actor)
Socks Whitmore  (Performer/Composer/Storyteller)

Invited Panelists:

Tim Kashani  (Co-Founder, Apples and Oranges Arts)
Roy Lightner  (Associate Artistic Director, Red Mountain Theatre)
Blair Russell  (Producer/Speaker/Educator, Blair Russell Productions/Show Shepperd/Black Heart/Resounding)

Some previous conference panelists:


Jeff Marx (Tony Award winning Co-Creator of Avenue Q)

Heather Hach (Tony nominated Bookwriter of Legally Blonde)

Stephen Bray (Tony nominated Composer/Lyricist, The Color Purple)

Allee Willis (Grammy, Emmy, Tony and Webby award winning and nominated Composer/Lyricist/ Artist/ Multimediaist, The Color Purple)

John Caird (Director, Les Miserables (original London production); Writer Jane Eyre, Daddy Long Legs)

Heather Provost (Broadway Producer)

Murphy Cross (Tony Award and Ovation Award-winning Producer, Wetrock Entertainment, Inc.)

Tim Kashani (Producer, Apples and Oranges Entertainment)

Michael Weiner & Alan Zachary (Writers, First Date, Second Hand Lions)

Randy Johnson (Writer/Director, A Night with Janis Joplin; Original Producer, Always, Patsy Cline)

Michael Jackowitz (Broadway Producer, How to Succeed…, Tuck Everlasting, The Hawaiian Goddess Project)

Click to see MORE panelists from previous conferences

David Bryant (Broadway Producer, A Tale of Two Cities, A Time to Kill)

Jamie Kershaw (Dream Works; Shrek: the Musical)

Jay Stutler (VP Music, Walt Disney Television Animation);

Brian McDonald (Resident Director, Rubicon Theatre Company)

Michael Jung (Vice President, Theatrical Development, Walt Disney Imagineering Creative Entertainment)

Kevin Saunders Hayes (Creator of Vox Lumiere; composer, songwriter, producer)

Karyl Lynn Burns (Producing Artistic Director, The Rubicon Theatre)

Oanh Nguyen (Artistic Director, Chance Theatre, Anaheim)

Gregg Maday (Warner Entertainment )

Schoen Smith (Venture Hill Entertainment)

Daniel Henning (Founding Artistic Director/Producer, The Blank Theatre Company)

David Elzer (DemandPR)

Dana Harrel (Producing Director, La Jolla Playhouse)

Tom McCoy (Executive Producer, McCoy Rigby Entertainment)

Michael Michetti (Co-Artistic Director, The Theatre @ Boston Court)

Nick Cavarra (Producer, Off-Broadway)

Scott Wittman (Smash, producer and writer)

Cheri Steinkellner (Tony nominated bookwriter of Sister Act)

Paul Gordon (Lyricist/Composer of Daddy Long Legs, Tony nominated lyricist/composer of Jane Eyre)

Michael Shapiro (Kensington Entertainment)

Heather Provost (Broadway, film, and television producer)

Murphy Cross (Tony Award and Ovation Award-winning Producer, Wetrock Entertainment, Inc. (Jay Johnson: The Two and Only!))

Marco Gomez (Venture Hill Entertainment, DOMA Theatre Company)

Steve Cuden (additional lyrics for Jekyll & Hyde)

Patricia Cotter and Lori Scarlet (The BreakUp Notebook - the Lesbian Musical

Richard Schulenberg (author of Legal Aspects of the Music Industry)

Kevin Bannerman (independent producer)

Tim Choy (publicist)

Pier Carlo Talenti (Center Theatre Group)

Susan Dietz (producer)

Stephen Citron (author of The Musical from the Inside Out)

Mark Winkler (lyricist, Play It Cool and Naked Boys Singing)

Our Panels

 (subject to change)

Meet and Greet and Intro to Hosts

Before the conference weekend begins, spend some time meeting your fellow attendees, as well as the staff of New Musicals Inc. who will be guiding you through the weekend.


What opportunities are out there in the world for YOUR musical? We'll talk to representatives from festivals, contents, grants, digital opportunities, etc.


Attend a final session where the NMI Staff will talk about pitching your music, and set you up with an opportunity to present your own pitch to a panel of producers the next weekend.

Pitch opportunities will happen on Saturday, July 30 and Sunday, July 31. All participants who are registered for the Full Conference Plus Pitch Panels will be scheduled for at least TWO pitch sessions during that weekend. Each Pitch session will be virtually attended by a variety of industry professionals from across the country.

Participants who have registered for the Full Conference or the Saturday Only or Sunday Only options (none of which include the opportunity pitch your musical) will be walked through the process of setting up a web-page on NMI's site, which will be shared with the same industry guests who are on the pitch panels.


Producers are being very thoughtful about what they are presenting to the public. Hear directly from regional theatre producers, Broadway producers, and other movers and shakers about what producers are looking for these days, and how they are going about finding it.


Some aspects of the legal side of writing of musical don't really change: collaboration agreements; public domain titles; underlying rights; etc. But there are also many new considerations regarding intellectual property on the internet, independent contractors; New Media agreements; and the like. Join our panel of experienced entertainment attorneys to get the answers to your questions (at a fraction of their usual rates!).


Many things have come to the forefront over the last couple of years that have most theatre companies re-examining the kind of material they are looking to present in their theatres. How does that affect YOU as a creator of musical theatre? What do you need to know about telling diverse stories authentically; creating characters from all areas of life; making sure those roles are filled by a wide spectrum of performers; composing for the non-binary voice? Our panel will get into the nitty gritty of this challenging terrain to make sure you know how to navigate this new world.

How much does the Conference Cost?

$595.  Register before June 1: $495. There are single-day options ($295), and a couple optional add-ons (submit your musical for feedback; pre-conference advice about submitting your musical, etc.)

Where's the conference located?

Nestled in the shadows of Warner Brothers and Walt Disney Studios, we’re hosting the conference at the brand Convention Center facility at ANC Productions in Burbank.



ANC; 611 South Glenwood Place, Burbank, CA

Informative, interesting, invigorating, indispensable.

Sachi Oyama

A true class act through and through.

Larry Dean Harris (Dramatists' Guild)

Pitch YOUR musical to producers!


All conference attendees registered for either the full conference or the Sunday session are eligible to submit a PITCH for a new musical (up to 1500 characters) as well as a bio (up to 1500 characters) and an audio demo. Your pitch will be handed to the panelists on our Sunday afternoon KNOW THE PRODUCERS panel.  The panelists will review the pitches, and let the attendees know which pitches would get their attention, and why.

In addition; after the conference, all submitted pitches will be forwarded to a list of national artistic directors and producers who have agreed to take a look. For previous conferences, this national list has included as many as 100 producers who are looking for new musicals for their theatres.  You will have an opportunity to revise your pitch after the conference, based on what you’ve learned about creating a dynamite pitch, before the pitch email goes out to the producers.

Click here to see a list of theatres and producers who will receive this year's Attendee pitches...

After every BIZ conference, we send out attendees pitches to a list of theatres and producers across the country  Here is the list (so far) of folks who have agreed to receive pitches from this year’s Conference attendees:

11th Hour Theatre Company
Acting Up Stage Company
Brigham Young University
Chasing Rainbows Productions
Dallas Theater Center
Florida State University College of Music
Ford’s Theatre
Lyric Theatre of Oklahoma
Maine State Music Theatre
Margot Astrachan Productions
MARS Theatricals Inc.
McCoy Rigby Entertainment
Mercury Theater Chicago
Music Theatre Wichita
Musical Theatre West
North Carolina Theatre
Pittsburgh CLO
Red Mountain Theatre Company
Royal Conservatoire of Scotland
Samuel French
Sharon Playhouse
Sheridan College
Somerled Charitable Foundation
The Broadway Rose Theatre
The Human Race Theatre Company
Theater Latte Da
Theatre Aspen
Theatre C
Theatrical Rights Worldwide
Third Coast Creative
Universal Stage Productions

And more are coming soon!

Get FEEDBACK on your Pitch


For a small additional fee, you can get feedback on your Pitch from the NMI staff, so that you can revise it before it goes to the Producer Panel.

Your Pitch must be submitted no later than July 1 in order to receive feedback prior to the Producer Panel.

In order to take advantage of this option, make sure to choose one of the registration options that includes the PITCH REVIEW.

Want to see YOUR musical at the conference?

Submit the first 20 minutes of your musical, and you will receive a feedback session from the NMI Staff.

All submissions will be automatically entered to be one of TWO submissions that will be given a reading presentation at the Saturday evening session of the conference; followed by a live feedback session by the NMI staff and invited guests.

To take advantage of this opportunity, make sure to choose a registration option that includes the SCRIPT SUBMISSION.

How valuable is feedback from the NMI staff? Check out these testimonials...

“I couldn’t be more impressed with the folks at NMI. They are dramaturgs, coaches, and teachers of the greatest, highest caliber. The feedback they’ll offer you on your work is astonishingly insightful and detailed. I was amazed to find this level of professionalism and intelligence about musical theater outside of NYC. You can take or leave, of course, anything they say, but when they critiqued a project I wrote there, I found 90% of their feedback right on the money and incredibly helpful, and the project I was working on there grew by leaps and bounds because of their input. I highly, highly recommend getting their input on your new musical projects. Their teeth are sharp as sharks’, but they don’t bite.”

Jeff Marx, Tony award-winning co-creator of Avenue Q


“I recently had the pleasure of working with The Academy for New Musical Theatre on a reading of THE GROUCH’S DAUGHTER, my new musical co-written with Jack Helbig.  NMI staff member Elise Dewsberry served as both dramaturg and director, and in our years of working on this show, no one person has been as helpful to us as she was. Prior to the reading, we received a set of notes that were as thoughtful as they were thorough. NMI’s suggestions led to a rewrite that greatly helped me shape the show and refine its style. I’m deeply impressed with the care and intelligence of their creative input, and would not hesitate to work with NMI again.”

Mark Hollmann, Tony award-winning composer, Urinetown

“I really want to thank you for taking the time to go through the script with such thoroughness, understanding and care. It’s quite exceptional attention that we’re getting from you, and we are SO grateful. I agree with virtually everything you’ve said (and I’ve whacked myself on the head with a baseball bat quite a few times for not seeing what NOW seems blindingly obvious). But I’m only seeing the light because you illuminate things so clearly. I’m going to go for another draft and see if I can attain the clarity and dramatic momentum that I’m aiming for. I’ll also take your note about SHOWING rather than TELLING to heart. That is such an acute point. We both think you’re rather a genius as a dramaturg. And not only are your insights invaluable - you are also so unstintingly generous about giving them.”

Chris Burgess, London


“This sort of feedback is priceless. I love your frankness and honesty and willingness to disagree with each other. We have nothing like this in the UK, and it’s easy to feel you’re writing in a vacuum over here. For a self-trained musician like me, who lacks the all-round knowledge a formal grounding gives you, your comments are so valuable and appreciated as I strive to lift my game to your standards.”

Denise Wright, London


“All the comments were extremely interesting, most were very useful and getting feedback on the 3rd quarter, while we’re still working on the finale, was enormously beneficial. We’re unused to this method - usually never dreaming of letting people see stuff when it’s in this embryonic state - but it’s a really enjoyable way of working and we’re very pleased with the results we’re seeing and hearing.”

Peter Shrubshall & Richard Free, London


“Your comments have been invaluable to me and have been very succinct (much thanks) and I’d welcome your feedback by email to the fourth quarter once you’ve received it. I’m also grateful for your enthusiasm and feel that you want to help make the script work.”

Simon Ware, London


“Elise, You are brutal and I love it! Thank you for the thoughts. As I am not a playwright everything you have said is music to my ears. It is exactly the kind of feedback I have been waiting for.”

Beth Harrington, Pinkbook Productions


“Dear Elise, You are the most amazing dramaturg. I briefly looked through your notes, which I am now printing, and I’ll will devour them! You make some brilliant points. The tremendous thought you have put into the notes, not to mention the time you spent, is invaluable to me. I am so grateful to you and will take your thoughts to heart. Having the third eye of such a talented dramaturg who views the entire work afresh is a wonderful gift. Many, many thanks.”

Noelle Donfeld


“Thank you mucho for your evaluation. I will cherish it like a prospector finding gold for the first time, fascinated by the possibilities…”

Ramon Parra


“Once again, thank you for the feedback! I actually love the way you set challenges and aren’t fooled by partial solutions.”

Stephen Telfer


“Here is the testimonial as promised. Finally. I have gushed a bit..but it’s all true. (and surely the point of the thing is to gush a bit, right?) Please feel free to use any of it for whatever purposes my be helpful. What I have maybe not mentioned is that after we did the first full run throughs at Village and the Production manager saw the whole thing for the first time he gave notes to the whole assembled cast, creatives and crew that he thought FAIRYSTORIES was the strongest new work Village had had for a long time. I can safely say that a huge part of that was achieved by my work with you guys.”

Paul Graham Brown, Fairystories, Berlin


“Wow!! Thank you so very much. I love all your ideas. It’s as though you were reading our minds — Roger and I tossed some of those questions around as well — then YOU magically solve our problems with the answers!! What’s particularly brilliant is that you are having us work through the process in manageable stages. What a gift you have, that you can lead us so that we need to climb out of only puddles of quicksand of our own making, rather than oceans of it! We both hold you in the absolute highest esteem imaginable. Your very grateful students…”

Roger Love and Ann McNamee


“I absolutely want to put in my thanks for the reading you conducted on Monday, and for your comments about the work. It’s going to help us greatly on our next leg of the process. Conversations are already heating up about how to further shape the material. I’m sure that our show will be much better for the process. With much gratitude,”

Kirby Ward, bookwriter, The Gypsy King


“I want to thank you again for the tremendous help you’ve given us with Romancing the Throne. Please convey our thanks to the cast as well for all their hard in putting up the reading. I know I speak for Kirby as well in thanking you especially for the in-depth analysis and critique you provided. We’ve already begun discussing your comments and we’re pumped up to start rewrites. We also plan to take you up on your offer to run our new outline by you. Again, much appreciated for all your help in this.”

Randy Rogel, The Gypsy King


“Wow! So awesome! This is extremely helpful and – wow! I say it again! So amazing that you would spend your time helping us in this way. We cannot thank you enough.”

Aaron Douglas, Planet Eden


“We submitted PLANET EDEN in one of its initial drafts and received amazingly detailed feedback. Clearly, whoever was assigned to our project had read the script numerous times and took copious notes and we got them all. This has been one of my most personally satisfying interactions with an arts advisory group that I have ever experienced!”

Aaron Kirk Douglas


“… we are both very very happy with the knowledge and experience you have brought to this evaluation, The time and thought you have put into it is quite evident and greatly appreciated…Thanks again for all the work you have done in helping us to make [our musical] as good as it can be.”

Alan Riva


“I wanted to tell you how much we appreciated your very thorough evaluation of our Musical, Gift of the Magi: The Musical. Your comments & suggestions were right on and gave us great insight to things in the show that we hadn’t noticed. We have already made many changes to the script & songs as a result of your input. Thank you!”

Beverly Bremers and Faith Grant


“I want to thank you one last time for the care and attention you gave to Mad Bomber. I think it is a much better play than it was when I first submitted it and any further improvements will have started with you and ANMT. I will always be grateful for your enthusiasm and professionalism. Thanks again. Best wishes,”

Charles Monagan, Mad Bomber


“The Search evaluation provided not only insights, but also inspirations - ANMT transformed the rewrite process into something exciting and fun!”

Charles Veley, G & S on Wall Street


“Just a huge thank you for the feedback and suggestions. Way more detailed and involved than I expected, and extremely constructive. Feeling energized.”

David Fischer


“Without ANMT’s help this project would never have come this far! After last year’s search and Elise’s analysis before that, I have received top notch plot help, character development, and musical advice. Useful is not a strong enough word. ANMT has been a guiding force in this project’s evolution, for which I am most grateful. One of the most difficult things for writers is obtaining professional feedback. Working in a vacuum is almost impossible. Collaboration and constant outside feedback is part of the process. I would certainly recommend ANMT to fellow writers.”

David Nelson


“Thank you for your evaluation of Eye of the Storm. WOW! That is all I kept saying to myself as I got thru Act 1’s eval. I appreciate EVERYTHING you pointed out to me and believe me I have thought many of the remarks myself along the great writing way. You just confirmed so much of my gut feelings for the things I need to work on. I wanted to get my first thoughts off to you before I continue with Act II’s eval. Again, Elise, thank you for all you did to make me want to continue to fix Eye.”

E.H. Milam


“Thanks again for your honesty and smarts. Your candor, insights and graciousness are much appreciated. It’s the best tutorial I’ve ever had and, like most artists, I generally don’t sit still for tutorials.”

Ed Goldman, Composer/Lyricist/Librettist, Friday@5


“Thank you for your evaluation of The Souls Of the Sea. Your comments are insightful and thought provoking. I have much to consider for the improvement of the book and music.”

Frank Tedesco


“Thank you so much for your evaluation. I’m gratified by how whole-heartedly you engaged with the piece, and your report is full of useful insights and suggestions which will help us greatly in the next phase. Thank you to you and your colleagues for running this programme.”

James Reid, Probe


“I just finished reading your evaluation and want to thank you So Much for your perspectives and time. What you wrote is exactly the kind of fundamental theatrical feedback I was hoping to get for the work. Its always hugely helpful getting feedback revealing where the conceptual blind spots are.”

Les Oreck


“Thank you so much for these valuable notes. They are an incredible help and will push the show to the next level. It’s given me something to think about and dwell on before moving forward. I miss all you guys and the intensity, professionalism, and talent over at ANMT.”

Mark Garcia, Holy Cows of Credence North Dakota


“Thank you for the notes … We’ve made a lot of changes, many of which were based on your direct feedback. It was very good to get an opinion from someone with your expertise.”

Mark Knowles, Killer in Drag


“We appreciate your constructive review of our project. It was the best money we’ve spent in a while. In fact, a substantially revised version, that includes many of your recommendations, is being staged this summer by the El Paso Community College.”

Mark Watts, eleven


“The real value of this service is in its rarity: from genuine industry professionals who have the clarity and vision to provide feedback with no bias or agenda and which asks the right questions and suggestions to enable YOU to genuinely UNDERSTAND how to make your work a better piece of musical theatre - the long term benefits of which are incalculable!”

Michael Dresser


“I’m extremely pleased and appreciative of your evaluation. It’s the first constructive evaluation I’ve had. Your thoroughness and assistance pretty much blew me away. I am both impressed and enthused.”

Michael McNeill


“Thank you so much for the evaluation. It was more helpful than I could have imagined. Your words inspired me to work most diligently …You are more valuable than money and gold! I really appreciate your insights and clarity.”

Peter Copani


“Any musical theatre project in development can benefit greatly from the objective, knowledgeable feedback services provided by the Academy for New Musical Theatre. Their efficient staff provides a supportive viewpoint, rare in the profession.”

Ramon Delgado


“We are in receipt of your video and your analysis of the piece. After watching the video and taking notes, we feel as if a nurturing dramaturgical Mary Poppins has visited us with wonderful insightful nourishment. It appeared to us that you seemed to really relate to the characters we’ve established and are caught up with their plight and have come up with ways to strengthen them … Your suggestions are invaluable to us and many will be integrated.”

Ron Yatter


“Thanks for the honest evaluation. That’s not easy to come by and the level of detail you provided far exceeded my expectations so I feel I got more than my money’s worth. I realize that ‘jukebox’ musicals are sometimes viewed as the step children of the genre and I suppose in many instances rightfully so. But in my head I see the narrative arc of these songs clearly so I think I’ll keep revising to improve the telling of that story rather than work it into more of a musical revue type piece. I hope I can get to LA to see one of your productions sometimes soon.”

S.D. Williams


“Elise Dewsberry has been the most influential, helpful, encouraging but brutally honest mentor in my six year attempt to write the book and many of the lyrics of a Broadway-style musical. I recommend Elise without reservation. Entering the Search was the beginning of a year-long association with ANMT, and I will continue to seek Elise’s help and very happily pay for it.”

Sandy Wolf, Marina


“Elise Dewsberry’s rare gift for analyzing plot and character is enormously helpful to writers. Her story sense is phenomenal.”

Stephen Oles, bookwriter, Seattle


“I wanted to say one more time just how truly stimulating the feedback that you gave on the original submission has been, and I look forward to more…You did a fantastic job with the analysis, enormously helpful — and I love the video format.”

Stephen Telfer


“I finally had a block of time to sit, watch your feedback about WHERE FORTUNES LIE (of ACT 1 – so far) and soak in some of your thoughts. All I can say is “Wow…have I got a lot of work to do!” Well, I guess I could say more than that. Your insights are very pointed and cut to the heart of the matter(s), which I appreciate a great deal. You have my mind spinning and even though I knew there would be at least one more rewrite of this story/show on the horizon, you have challenged me not only to rewrite but RECREATE what this story is about and how it is told. Thank you for the challenge. I waiver between feeling up to it or not but I want to grow in this world of writing for theatre (whether music only, music and lyrics or even attempting to rewrite the book to this show) so I value your comments and your ability to peel back the layers to get to the heart of the matter.”

Todd Syswerda


“I am so impressed with your evaluation. It is far more thorough than I expected, and full of valuable critiques and suggestions.”

Tracey Corea


“[I have found] the evaluation to be very enlightening; I’d like to add that such a detailed treatment was far beyond my expectations and proved your organization to be totally sincere and definitely concerned with promoting quality and professional musical theatre.”

Walter Johnson


“If anyone is hesitant about the cost of submitting to you guys, be sure to have them talk to me. Your evaluations are worth ten times the fee.”

William Roetzheim, Producing Director


“First of all, let me just say thank you …for this amazing experience. I would be remiss if I didn’t just say how grateful I am for this experience. I will certainly recommend ANMT to other writers I know.”

Susan Murray, Bookwriter, Greenbrier Ghost


“I realize I haven’t been in touch since our reading, and I wanted to tell you three that our day of feedback has been incredibly useful and launched me into a completely new phase of work on the show. You’ve inspired me to start a serious education as a musical theatre writer.”

Brian Pugach


“You are a gift a glorious amount of light that flickers even from under the darkest of drop cloths you are the gift the song the melody finished and yet still moving I graciously adore you xxx”

Roger Love


“The only people who really who what they’re talking about when it comes to making musical theatre work!”

Burgess & Wright, Winner, Sidney Brown Award, London


“[Your reading and feedback] yesterday was one of the highlights of my career.”

Fat Mike, NOFX


“I just want to thank you VERY MUCH for that unbelievable feedback you gave me. It is phenomenal!!! I agree with most of what you said and I am truly glad I am working on this process.”

Daniel Bort


“Thanks again for all of your help in the on going journey which is Clyde ‘N Bonnie : A Folktale. You and Elise’s critiques are very detailed and you’ve presented us with lots of possibilities for rewrites that reflect a more, intellectual approach. ANMT provides a wonderful service to those up and coming writers of musical theater. There are very few places to go to learn how to write in this art form. And as you know….it ain’t easy. So on behalf of Hunter, Mark, Derrick, Ian, and myself thank you for all of your work and advice. And here’s to a bright future for everyone! Take Care,”

Hunter Foster and Rick Crom, Clyde ‘n Bonnie: a Folktale


“ANMT stands for excellence, in songwriting and in scriptwriting. In this musically challenged time we live in, they are one of the few organizations, whose goal is to maintain the high standards, we have always expected of the theatre. My association with ANMT has been incredibly rewarding, as they have not only been generous and supportive of my work, but also nurturing and inspiring, to students I have taught, who have gone on to learn more about musical theatre.
There are unfortunately few arenas where quality and dedication, are still appreciated. I have been told by every student of the Academy that they have found this dedication and commitment, at ANMT, more than anywhere else.
As you live, and learn to value what music and theatre have added to your life, you begin to appreciate more and more, those people and organizations who will bring that level of adventure, romance, mystery, and excitement to future generations. I could not be more enthusiastic about the Academy For New Musical Theatre. Had I been involved with such a group, earlier in my career, I might have written a Broadway musical myself. I hope everyone who treasures the great works of the past, and believes in their responsibility to the future, will continue to support the efforts of this wonderful organization. By the way, they also put on wonderful benefits…”

Marty Panzer, Grammy-Award winning lyricist for Barry Manilow


“It’s incredible what ANMT can do to help a new musical. These guys are nurturing and supportive, and they help writers and producers conceive, develop, write, and produce dynamic, stage-worthy new musicals. I can’t recommend them highly enough.”

Steve Cuden, Co-Creator/Lyricist, Jekyll & Hyde, The Musical


“If you’re like me, you may think that you can construct an original story around an idea for a song or plot point –or even a favorite line of which you have become particularly fond. The Outlining course offered by the Academy for New Musical Theatre will persuade you that this is unlikely to be successful; and will show you a far better approach. The course will teach you how to use fundamental principles to construct a rock-solid, self-consistent structure that embodies the story that you are trying to tell. Following an introduction to the basics of story-telling, the course offers you the opportunity to build your own story in layers of increasing complexity, with guidance from an expert dramaturge at every step along the way. I guarantee that by the end of the course you will have a far deeper understanding of what you are trying to write. You will also have the practical result of a scene-by-scene scenario that can be expanded into a full script. I found Elise Dewsberry to be the perfect guide along the journey to discover my story. She never compromised her standards and always forced me to confront weaknesses that I would otherwise have overlooked, but always in a supportive and encouraging way. I would recommend the Outlining course for anyone trying to write an original story for the musical stage.”

Stephen Telfer

Fabulous conference. So well structured with pertinent, relevant and fundamentally useful content and discussion for all music theatre writers - at all levels of experience and knowledge. Please pass on my thanks to all your staff for their terrific efforts on our behalf.

Kevin Purcell, Orchestrator (Andrew Lloyd Webber)

KUDOS. BRAVO, BRAVA. I’ve been to lots of workshops over the years in many disciplines. Yours was one of the most comprehensive I’ve ever attended. And, as a brand new playwright, it was incredibly valuable.

John Aaron

This conference is a MUST for anyone who has written a musical and is ready to pitch it. The resources, wisdom and contacts you’ll garner from attending will amaze you and you’ll find them extremely helpful. The people who attend and speak at this conference are kind and not looking to bring EGO to the work just help others learn.

Barbara Heller

There is nothing better than getting together with like-minded artists and co-creators who all have a passion for the musical theatre and sharing the comraderie, inspiration and necessary information to further your career and your artistic development. Everyone who is interested in Musical Theatre should attend!

Hillary Rollins

Thank you, what an honor to be part of such a wonderful and prestigious event. It is thrilling to see such dialogues happening in our community and especially to be a part of it!

Michael Jung ( Walt Disney Imagineering Creative Entertainment)

For anyone pursuing their musical theater writing dreams, you cannot afford to miss this conference.

David Eshleman

As I’ve had a chance to step back and reflect on it these last couple of days, it was even more of a magnificent opportunity than I could recognize in the middle of it. Just the chance to listen first-hand to the wide array of speakers, coming from their various positions and backgrounds in the theatre community, was invaluable and also inspiring and hopeful. And the chance to commune in such a friendly and collegial environment made it all the easier to feel a part of things and to feel I was among friends – and potential collaborators – rather than competitors. The conference literature – from start to finish – was elegant, classy, spirited, and ever efficient and professional. The food was plentiful, easily (and constantly!) available, and sophisticated without being pretentious. The building looked lovely and well-utilized, and reflected a certain dignity that is, in fact, the dignity of everything associated with NMI. So congratulations, congratulations, congratulations!!!!!

Randi Wolfe

I learned a lot more in one weekend than I had in the many moons I’ve been kicking around in theater. It was a good reminder to hear about the economic realities of non-profits, the co-joining of show “world premiers,” the attorneys who had advice about trying to get rights, etc. etc. In short: kudos!

Lori Ada Jaroslow

The panels were AMAZING and the networking opportunities were probably the best I’ve had at any conference.

Patrice Cassedy

What a wonderful conference. Such fantastic panels and wonderful people. It’s always so inspiring to talk with people who make the magic happen.

Rachel Payne

Wherever you are in your career, there is a lot to be gained by attending this conference. Not only do you have a chance to feel the pulse of today’s musical theater scene, but an opportunity to delve into areas that may not be readily accessible – or comprehensible – unless you have access to an inside track. And this is that inside track. For example: Want to adopt a book or film? Thinking of writing a juke box musical? Wondering what non-profit producers are looking for? Curious as to what is it like to work on a commercial hit? Or simply, how do you better pave the road to get your show show up? All that and more is part of this terrific conference.

Joel Adlen