Here's what some of our Alumni Festival Writers have to say about their experience:

"It’s without exaggeration that I describe NAMT as one of the most remarkable opportunities that exists for musical theater writers.  NAMT is unique, and incredibly effective: it fosters that most crucial and elusive of relationships – between writers and producers of new work – and does it on a national level for writers at all stages of their careers.”
- Adam Gwon, ORDINARY DAYS (2008)
Read Adam's full letter.

“If there were a list of non-profit arts organizations who encouraged new works and brought that work to the attention of people that can foster it and get it produced, then the National Alliance for Musical Theatre should be at the absolutely top of that list. NAMT has been essential in providing the next step for us and our musical.”
- Brian Hargrove, IT SHOULDA BEEN YOU (2009)

"When we were invited to participate in the 2004 NAMT Festival, we knew we had a chance to reach an important American audience, but, honestly, none of us expected our development process to be accelerated to the extent that it was. After nearly seven years of slow development, we suddenly found ourselves face to face with the most powerful and influential people in the industry.  A year and a half after NAMT, we opened at the Marquis Theatre on Broadway.  We believe that NAMT is an essential step in the development of any musical."
- Bob Martin, writer and star of THE DROWSY CHAPERONE (2004) and winner of 2006 Tony Award for Best Book of a Musical.

"Thanks so much for making all this happen! I still look back at the Festival as one of the highlights of this experience."
- Lisa Lambert, composer and lyricist (with Greg Morrison) of THE DROWSY CHAPERONE (2004) after winning the 2006 Tony Award for Best Original Score

"There is no doubt in my mind that the presentation of CHILDREN OF EDEN that we did as part of the 1996 NAMT festival was directly responsible for much of the great success the show has enjoyed. The NAMT presentation, for one thing, was what engendered the interest of the Paper Mill Playhouse, whose superb production led to the show's being recorded by RCA Records. Since its NAMT presentation, CHILDREN OF EDEN has received over 600 productions around the United States and beyond, and I will always be grateful to NAMT for its large part in helping that to happen."
- Stephen Schwartz, CHILDREN OF EDEN (1996)

Stephen Schwartz presents Brendan Milburn and Valerie Vigoda with the ASCAP Foundation's Richard Rodgers New Horizons Award in December, 2009.

"[After the Festival] we had no idea that in the audience were so many movers and shakers in the theater world, from all over the world as well as New York...and at the end of the performance, many of them handed their business cards to our agent at the meet-and-greet table. Those cards, and the contacts we made at NAMT, have led to nearly every new professional opportunity we've had since then. A world of opportunities has opened up for us, and we have NAMT to thank for all of it."
-Valerie Vigoda and Brendan Milburn (Groovelily), STRIKING 12 (2004)
Read Groovelily's full letter.

“I've said this before, but I have been so blessed by NAMT. My career and any bit of success that I have had has direct ties to the amazing work of the NAMT staff and the passion that they put into new works. For me, there really is no other festival for new work that comes close to the NAMT festival.”
–Mark Allen, BAND GEEKS! (2009) and TINYARD HILL (2007)

“NAMT is A.W.E.S.O.M.E. (A Wonderful, Excellent Showing Of my Musical’s Evolution) The opportunity to show off a new work in development to potential producers with a Broadway cast in a beautiful theater with screaming fans and rock and roll lighting (well, maybe not the lighting...) is a rare gift.  And, thanks to NAMT, I’ve had two shows move fast forward.”
- Andrew Lippa, JERRY CHRISTMAS (2006) and A LITTLE PRINCESS (2005)

"The NAMT Festival changed MILLIE's life. Our hope in entering was to learn invaluable lessons about the show by putting it in front of its first audience, but we came out of the Festival with so much more. Without it, we would not have met the people at Fox Theatricals, who have been with MILLIE as lead producers since that time, and shepherded its development. The Festival is like a musical theater version of 'Date Bait.' The writers are looking for someone to fall in love with their work, and the NAMT producers are looking to fall in love with new musicals that will one day fill their theatres. In doing so they are really helping to nurture new voices."
- Dick Scanlan, THOROUGHLY MODERN MILLIE (1996)

“Our relationship with [The Old Globe Theatre] resulted in our dream production, a collaboration between The Old Globe and a San Diego neighborhood and high school struggling to cope with gang violence that culminated in a wonderful run of Kingdom...and a model for how Kingdom can be produced at a regional theatre in a way that mobilizes the community around tht themes of the show - which was our intent from the beginning”
- Aaron Jafferis and Ian Williams, KINGDOM (2007)
Read Aaron and Ian's full letter.

“At the risk of hyperbole, it's feasible to say I might very well have no career at all if it weren't for NAMT. At the very least, I've been one of the countless fortunate beneficiaries of an enormously worthwhile alliance...one which I'm led to believe was initially conceived mainly to serve those seeking to produce new American musicals, but which lately, more and more, has also become an invaluable ally for all of us writers who create them in the first place.”
- David Kirshenbaum,YES, VIRGINIA, THERE IS A SANTA CLAUS (1997); SUMMER OF '42 (1999); PARTY COME HERE (2005); VANITIES (2006)
Read David's full letter.

“If you're writing musicals, NAMT should be at the top of your submission list. No other organization provides the level of support and the level of exposure to the movers and shakers in the theatre world that NAMT does. Just being in the festival gives you credibility that you cannot buy. Not only has it changed the trajectory of my show, it has changed the trajectory of my musical writing career.”
- Duane Nelsen, RIPPER (2009)

“NAMT gave our show the kind of exposure that it was ready for. The experience and reception was fantastic. To have Broadway at your fingertips in terms of top talent and direction, and to give audiences a taste of your show in a forum where people are hungering for new work pretty much is a writer's dream.”
- Stephen Weiner, IRON CURTAIN (2009)

"The NAMT Festival was an unprecedented opportunity to showcase our new musical to a discerning professional audience with real intentions of furthering the work. There is nothing else like this. What an amazing experience."
- Andrew Barrett, bookwriter and lyricist for JULIAN PO (2006)

"What an incredible honor it was for me to participate in this years NAMT festival. It was an amazing experience from beginning to end. I am grateful for the opportunity to have been able to present my work in such a supportive and creative environment."
- Paul Gordon, composer, bookwriter, and lyricist for EMMA (2006)

"Thank you again for the most amazing week/month/year of our careers so far! Our NAMT "Sunfish" experience is one that we will never forget. The showcase, parties, and writers panel were so very exciting and helpful – and we look forward to all of the opportunities and collaborations it brings."
- Michael L. Cooper and Hyeyoung Kim, authors of SUNFISH (2006)

"The National Alliance for Musical Theatre has been the single largest factor in our musical's success... The coordinated resources NAMT's members bring to bear are, we believe, unparalleled for the development, launch, and national dissemination of new musicals... Everyone working in the musical theatre knows that new musicals must be fostered, but NAMT and their membership are doing something about it. They are seeking out today's and tomorrow's new writers and shows and bravely throwing them onto their stages."
- Andrew Gerle, composer, and Eddie Sugarman, writer, MEET JOHN DOE (2005)

"The NAMT Festival was the single most important step in the development of SAM BROWN. We assumed it would take years of making connections and sending out scripts to find the right producer for our show. Instead, we performed one song in the 2005 Songwriter's Showcase and, at the reception afterward, we were approached by dozens of people producing new work."
- Kait Kerrigan and Brian Lowdermilk, THE UNAUTHORIZED AUTOBIOGRAPHY OF SAMANTHA BROWN (2005)

"AMT is such an extraordinary organization, and is probably of more benefit to writers of new musicals than any of the other development opportunities I've experienced.  I always tell writers, when they ask me about applying to NAMT, that this is the single best marketing opportunity that I know of for emerging musicals. "
- Cheryl Coons, RIVER'S END (2005) and THE PHANTOM OF THE COUNTRY PALACE (1994)

"Our consulting producer was totally helpful. And I feel we've made a long-lasting friend in the industry. Just the emotional support alone was worth it."
- Robert Oberacker, ACE (2005)

"We were thrilled with our presentation. I think it was a concise, clear, moving cutting of the piece, which accurately represented the feel of the show."
- Jenny Giering, writer, CARABOO, PRINCESS OF JAVASU (2005)

"It was an honor to have been a part of the festival; and for our show to have been picked up by Goodspeed, Walnut Street, Fords, Stage One Wichita, and the Bunkamura Theatre in Tokyo, along with a tour of Japan.  NAMT did that for us and I will always be grateful."
- Martin Casella, PAPER MOON (1995)

View photos of some Festival Shows that have gone on to prominent productions.