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…submission forms

submit to the search

submit a musical for evaluation and entry to the SEARCH

book a consultation

book time with NMI staff for a consultation

build your own sandbox

create your own development pathway

samples of feedback

check out some samples of our feedback


see what folks are saying about our dramaturgy

submission forms

On this page you will find submission forms for all of the levels of feedback available at NMI. These forms come in four different types:

SUBMIT A MUSICAL: There are several levels of feedback available for full-length musical submissions, from an overview evaluation to a table reading. ANY of these submissions will also automatically enter your musical in our annual SEARCH FOR NEW MUSICALS (annual deadline:July 15).

BOOK A CONSULTATION: You can book time with an NMI Dramaturge or other Staff Member on an hourly basis; for feedback on a development musical, for advice, or for any other purpose. (NOTE that consultation submissions do NOT come with an entry to the SEARCH.)

BUILD YOUR OWN SANDBOX: You can use this submission form to create your own development path for your musical through the Sandbox approach.

APPLY TO NEW VOICES: If anyone on your writing team is between 18 and 26, you can apply to our New Voices Project (annual deadline: February 15). Chosen participants will receive a feedback session with NMI staff and guests as well as a concert presentation in Los Angeles.

submit a Musical

New Musicals Inc. is committed to an ongoing search to find and nurture promising new musical theatre.

If you’ve written a musical, and you would like some honest, constructive, detailed feedback on how to make your musical better, you can submit your musical to NMI for dramaturgical feedback at levels from evaluation to analysis to table reading.

All full-length musicals submitted (at any level) to NMI by JULY 15 of any year will be automatically entered in the Search for New Musicals for the next season.  Winners will be announced by November 15 following the annual deadline. The winner of the Search receives a workshop with the Academy Repertory Company, detailed feedback from the NMI staff, and will be given a concert reading in Los Angeles.

You will also see a toggle section below that will describe the available options and prices for the different levels of feedback.

To submit your full-length musical for dramaturgical evaluation and entry into the Search, please fill out the form below.  Once you have made your payment, you will receive instructions to access your submission page and upload your files.


Overview Evaluation.
NMI dramaturg will read your script and listen to your demo and respond with a 20-30 minute audio overview evaluation addressing core topics such as: Is the plot clear and trackable? Is the theme clear and compelling? Does your lead have a clearly defined want and strong obstacles? Is the exposition delivered skillfully? Do the lyrics progress the story? Is there a partnership between the lyrics and the music? Does the score have variety and breadth? Is the author's intent being realized as fully as possible?
$195 for 20-30 minutes of audio feedback.


Detailed Analysis.
The Detailed Analysis consists of a 2-3 hour video feedback session.  It covers the same topics as the audio Overview Evaluation, but at a much more detailed level, often discussing the work page by page, even line-by-line. Focus is on specific songs, themes, characters, subplot, diction, story logic, as well as manuscript presentation, marketability, and recommendations for next steps.
$400 for 2-3 hours of video feedback.


Full Draft Personal Consultation.
Spend time in person (or by video or telephone conference) with an NMI staff member who has read and made notes on a full draft of your developing musical.  The NMI staff member will spend up to four hours reading your show and making notes, and then arrange for a video conference call or in-person meeting with you for up to two hours.
$595 for prep and up to 2 hours of evaluation either in person, or by video or telephone conference call


Staff Table Reading.
Three NMI staff members read through the entire script/score, and then provide a detailed feedback session on book, music and lyrics. Authors can present the material, or the staff can cold-read/sing. The read/sing-through will generally take 2-3 hours; followed by a short break; and then up to four hours of feedback.  This can be done in person; or the authors may attend by video conference; or NMI can make a video recording of the session to share with the authors.

NOTE: All Full Length Script options also include automatic submission to the Search for New Musicals.

If you prefer, you can send your script and a thumbdrive of your demos and payment by regular mail to:

New Musicals Inc.
5628 Vineland Avenue
North Hollywood, CA  91601

book a Consultation

To get started on your consultation with NMI, just fill out the form below - choosing which level you would like.  Once we have received verification of your payment, we’ll get in touch with you to schedule your consultation time.  (If you need more info before you sign-up, please feel free to contact us by phone - 818-506-8500 - or by email - admin@nmi.org)

You might be looking for advice on your outline or story idea; help with story spotting or lyric crafting; advice about marketing and approaching theatres and or producers; or any other kind of face-to-face time with a dramaturge or a producer.

FEES: $80 per hour (including prep time).

You will also see a toggle section below that will describe some of the possible combinations of time available. Any of these options can be available in person; or by video or telephone conference.

If none of these options meet your needs, please give us a call at 818-506-8500 - or email us at admin@nmi.org - and we will figure out a combination that works for you.

If you are looking for the FULL DRAFT PERSONAL CONSULTATION - that one is available on the FULL LENGTH SUBMISSION form elsewhere on this page.


1 HOUR CONSULTATION (NO PREP): Schedule a one-hour personal consultation with an NMI dramaturge.  (The dramaturge will not do any prep prior to the session.)

2 HOUR CONSULTATION (NO PREP): Schedule a two-hour personal consultation with an NMI dramaturge.  (The dramaturge will not do any prep prior to the session.)

1 HOUR CONSULTATION (with 1 HOUR PREP): Send your material in advance, and your NMI dramaturge will review the material and make notes for one hour prior to your one-hour personal consultation.

1 HOUR CONSULTATION (with 2 HOURS PREP): Send your material in advance, and your NMI dramaturge will review the material and make notes for two hours prior to your one-hour personal consultation.

2 HOUR CONSULTATION (with 1 HOUR PREP): Send your material in advance, and your NMI dramaturge will review the material and make notes for one hour prior to your two-hour personal consultation.

FIRST ACT PERSONAL CONSULTATION: Spend time in person (or by video conference) with an NMI staff member who has read and made notes on the first (or second) act of your developing musical.  The NMI staff member will spend up to two hours of prep time reading and making notes on your musical; then arrange for an in person or video conference for you for up to one hour.

build your own Sandbox

NMI’s Sandbox is for musicals which don’t fit a usual mold.  You want a little bit of THIS and a little bit more of THAT — a unique mix of feedback, workshopping, marketing advice, or perhaps some insider tips and tricks of the trade.  You’ll have nine 2-hour work sessions with your selected staff member to work on such topics as outlining, song-spotting, presentation of scenes and songs, marketing advice, budgeting, feedback, music preparation, song structure, consultation about demo recordings, etc. - depending on the needs of your musical at any given moment in the process.

You can also design your own schedule …whatever’s best for you and your musical…at your pace. Use your nine sessions however you like. Online or in-person.

The Sandbox includes 9 two-hour session with one NMI Staff Member for a price of $1500 (no matter the number of collaborative team members).  You can pay the full amount up front, or you can pay for three sessions at a time ($500 each).

To get started, just fill out the form below, make your payment, and then we’ll get in touch with you to set up a schedule.  (If you need more info before you sign-up, please feel free to contact us by phone - 818-506-8500 - or by email - admin@nmi.org)

apply to New Voices

January 1: Submissions Open
February 15: Final Deadline for Submissions
March 1: New Voices Project Winners Announced

Submission material: Writers will be asked to submit a short biography and artistic statement from all team members.  Writers are encouraged to submit up to three selections, either from a single work, or separate works, for a total of a maximum of 20 minutes of material.  All submissions will be electronic: script/score submissions will be accepted in PDF format; demo/sound files will be accepted in MP3 format; and we will also accept links to YouTube or Vimeo video files.  The NMI staff will review all submissions and select the winning entries to move forward.

If your work is selected, professional actors will prepare and present your work in an in-house concert at NMI sometime in the spring (likely in April). Following the presentation, there will be an evaluation session with the NMI Staff and other industry professionals.

Although teams are welcome to come to Los Angeles to participate, writers will be able to participate in all rehearsals and presentations via video-conferencing from anywhere in the world.

 (NOTE:  At least ONE member of the team MUST be under 26 years of age as of the February 15 submission deadline.)

NOTE: We will NOT be accepting submissions for the New Voices Project in 2023. Please check back in 2024.


Here are some sample videos of the kind of feedback we provide at NMI.

Elise’s standard “Disclaimer from Your Dramaturge” about the intention/expections connected with the feedback experience at NMI.

A three-minute excerpt of feedback. Discussion focuses on the writers’ INTENTION, which seems to be more serious than the musical choices they’ve made?


A three-minute excerpt of feedback. Discussion focuses on identifying the most dramatic moment of the action — and asks the writer to examine whether that drama is covered by the current song.

Or - check out Elise’s video blog series “How to Get NO Feedback from Elise” - a series of short videos about specific topics that come up the most often in feedback sessions. Check out the intro video from the series here - or go to ELISE’S VLOG page to see the entire series.


“Elise Dewsberry is spot on. Her approach is thorough, extensive, direct and supportive. Her comments resonated as she identified and made suggestions for the hiccups and obstacles that had been thwarting us for too long. We wish we had her help years ago, and we look forward to working with her again soon on all of our projects.”
    Caroline Sherman and Robert Hull (Empire the Musical)

“My co-writers George Stiles & Anthony Drewe and I worked with Elise when she provided dramaturgical services on our show Soho Cinder. Her insights were invaluable. She asked exactly the right questions to make us think about our characters with a fresh perspective. As a result, characters and their journey arcs tightened up and the overall show did so as well. As a writer, you think you know your piece but it is amazing what a professionally focused look at your work can do to enhance it. Elise provides just that forensic approach.
    Elliot Davis, George Stiles, and Anthony Drewe (Mary Poppins, Soho Cinders)

“Elise is the Sherlock Holmes of dramaturgy.  “Having gathered these facts, Watson, I smoked several pipes over them, trying to separate those which were crucial from others which were merely incidental.”  With her keen eye, extensive knowledge and thoughtful commentary, she has managed to suss out exactly what the creatives must do to improve their story-telling.  I’d love to have her expertise on all new shows I work on.”
    Marcia Milgrom Dodge (Director/Choreographer Ragtime, High Society, Secret Garden)

“I had the pleasure of working with New Musicals Inc. 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)

“We were fortunate to have Elise Dewsberry as advisor for our presentation at the National Alliance for Musical Theatre. Elise provided kind, thoughtful and wise script guidance during the strenuous work of chopping our musical’s first act to forty-five minutes. She was a constant encouraging presence offering sage advice based on the strength of her experience with musical theatre presentation, promotion and marketing. NAMT was a challenging ride and we can’t thank Elise enough for assuming so many roles on our behalf, from dramaturg to cheerleader. We will always value her knowledge, dedication and care.”
    Jennie Redling, Phillip Palmer, Stacey Luftig (My Heart Is The Drum, Village Theatre)

“Thank you so much for all the great notes, Elise.  You’ve truly got a gift. I used to be a script analyst for Oliver Stone, James Cameron and Sydney Pollack - also Miramax, CAA etc.  And I know a truly insightful eye when I see one.”

                Robert Rosen

“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 submitted Planet Eden in one of its initial drafts and received amazingly detailed feedback. This has been one of my most personally satisfying interactions with an arts advisory group that I have ever experienced!  We cannot thank you enough.”

                Aaron Kirk Douglas (Planet Eden)

“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)

“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.”

                Charles Monagan (Mad Bomber)

“Once again you put your finger on the things that need addressing - try to hide them though I may, you’re in there like a pig discovering truffles.  (Sorry, inelegant phasing!) .  What’s terrific is that you are interested in helping the writer write the best possible version of what he/she wants to write.”

                Chris Burgess

“What can we say?   We are DELIGHTED with your evaluation and we are now going to forge ahead with further revisions to make this show as water-tight as possible. You have an eagle eye and a pitch perfect ear and we treasure your insights and suggestions.  A big thank you yet again from across the pond.  We really wouldn’t be where we are with this show without you.”

                Chris Burgess & Denise Wright

“Just a huge thank you for the feedback and suggestions. Way more detailed and involved than I expected, and extremely constructive. Feeling energized. To get professional feedback for a ridiculously low fee, where else are you gonna go?”

                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. 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 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)

“Once again you have identified moments that are not quite working and suggested ways to make them work.  I will address the remaining points … and return to you an outline that should be the springboard for creating a fine show.  We can’t thank you enough.”

                Joanne Koch

“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. It’s 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.”

                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 $100 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)

“I’ve had hundreds of classes not only in getting my doctorate but all the many of the post-doctoral classes I’ve had. Your class taught me more in those three hours about working out a story than ever I’ve known before.  Thank you for it!:

                Mel McKee

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

“Dear Elise,You are the most amazing dramaturg.  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 for your wonderful critique.  Your comments are thought provoking and very helpful.   I like your video style.  Watching and listening to you was enjoyable and much clearer than written comments would have been.  I now feel that I know you.”

                Paul Christensen

“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

“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

“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.”

                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.”

                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)

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

                Stephen Telfer

“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 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)

“Thank you so much for your insightful and constructive comments.  I intend to take most of what you said to heart and continue to develop the work. Again, thank you for your unblinking honesty - there is nothing more valuable.”

                Tom Armbruster

“Thank you for all your efforts Elise. I don’t think I’ve ever learned so much in just two hours. Best scrub down I’ve ever gotten. I hope to be able to rely on you in the future.”

                David V. Mastran

“I wanted to let you know how appreciative I am for the analyzation and feedback on my show An Evening With The Burn Outs. Having been in the same seat as an instructor at the Broadcast Workshop in Hollywood I know the thin line one needs to tread between over enthusiasm and crushing criticism. The depth of your analysis was way more than I expected...so…Thank You!”

                Fred Barden

“Your analysis was very thorough and you caught numerous contradictions I had missed. It is clear that you carefully read every word, and your suggestions as to how to clarify the main conflict was most helpful. You are a treasure to the theater writers’ community.”

                Leland Auslender