“Arianna provided terrific advice as dramaturg on my new full-length drama, which has had many revisions but not yet a reading or any development opportunities. She was thoughtful and professional. She staged her review with an initial discussion, further input from me, a detailed written analysis of my drama scene by scene and line by line, and a follow-up conversation. Her comments were astute, perceptive and creative, and she never held back from challenging me in a positive manner. All this in a timely manner, as early on Arianna set a schedule and kept to it. Her analysis has been rich and in depth – her submitted report to me is one I’ll refer to often as I move to next steps of revision. The highest compliment I offer is that Arianna’s advice resonates soundly and in a sustained way. Long after I received her report, I continue to reflect on her analysis and be enriched by it. ”

— Elan Garonzik, playwright

UPDATE! The play I dramaturged for Elan has just been selected by UK London Playwrights for a year-long development opportunity. Congratulations Elan!

Elan Garonzik’s plays can be found on his New Play Exchange page here: Elan Garonzik - NPX

————————————————-

“Arianna!!!! Thank you so much. Genius. This is exactly the type of feedback and actionable brainstorming I was hoping for. I truly appreciate your thorough and thoughtful work. My mind is already drumming up ways to show not tell this story…I'm going to spend some super quality time with your write-up and notes. “ Karen Campion, Award-winning Playwright and Screenwriter

You can follow Karen on her socials: @karecampion, or via her IMDB profile: https://www.imdb.com/name/nm16479760/bio/

_____________________________

“I love Arianna Rose’s plays, so it was no surprise to me to learn that she’s also a skilled dramaturg. Arianna’s expertise in dramatic structure, her intelligence, creativity, and insightfulness enabled her to home in on what my play needed in order to move forward. Her feedback was always clear and concise, her communications were thoughtful and professional, and I felt supported and encouraged as a playwright. I would not hesitate to work with Arianna again and hope I have the pleasure of doing so soon.”

— -Jennifer O'Grady, playwright

UPDATE! I worked a second time with Jennifer on her play, and after another round of revisions, it was selected for readings with two different theatre companies.

Jennifer O’Grady’s plays and other work can be found at her website: Jennifer O'Grady

_____________________________

“Arianna Rose is a very talented and generous artist. Giving of her time and expertise to whomever needs it.

I was in desperate need of a writers group and she found a place for me in hers.

I hired her to go over a couple of ten minute plays I wrote and maybe help me to understand ten minute plays better. The whole session was a revelation. It was like taking an entire course in 90 minutes. I understand so much more now about the right and wrong choices to make. She armed me with resources as well as her excellent critiques. I cannot recommend her highly enough. You will not be disappointed! ”

— -Dan Taube, Playwright

Dan Taube’s plays can be found on his New Play Exchange play here: Dan Taube

_____________________________

“Arianna Rose’s knowledge, expertise and ability to give constructive, positive, laser focused criticism is unparalleled. In three classes, I have learned so much about the short form playwriting process. Professor Rose goes above and beyond to help each student in the class and offer information...She is a consummate professional. ”

— -Katherine Vellis, actor, director, dramaturg, writer

Katherine Vellis’ plays can be found on her New Play Exchange Page here: Katherine Vellis - NPX

____________________________

“I have had the great fortune of seeing Arianna Rose in action on every type of script/story possible. She excels in the kind of focused dramaturgy that supports AND stimulates a writer’s process. She is completely adept at breaking down, honing-in, and explaining (with clarity) wherever there may be issues or problems in the story. Her skills at examining details is only exceeded by her innate ability to ask the right questions that stimulate a writer to find and understand their path to making rewrites/corrections that stay true to their own style and voice. And she, herself, is great at responding to questions about any of her suggestions or critiques. She IS the real thing!”

— Jack G Hyman, playwright, author, actor, musical theatre writer

Learn more about Jack G Hyman’s work here: Jack G Hyman

____________________________

“I met Arianna a few years ago at a couple of different theater-related events. Not long after, she contacted me about helping to start a writers group of local playwrights, allowing us all to sharpen our skills and get some much-needed feedback. I had been writing plays, but not able to get useful feedback from anyone who knew the nuances of writing a play. We started the group, which included other fine writers, and it has been a godsend over a 5-year period.

Arianna’s great skill as a dramaturg comes from her being supportive and most important, honest. She will tell you what is good about your play and what isn’t working, but will always finish with encouragement and a generosity of spirit. You’ll never feel like your efforts have been wasted, and, thanks to her training and experience as a theater professor and playwright, you’ll learn techniques to improve your writing skills. She has been so instrumental in my development as a writer and she’s a great cheerleader for all playwrights. I highly recommend Arianna if you are looking for a dramaturg. ”

— Bruce Karp, Playwright

Learn more about Bruce Karp’s work here: Bruce Karp's website

___________________________

“I have been a part of Arianna’s writing workshop in South Florida since its inception, 5 years ago. The workshop with Arianna at its helm, has been tremendously helpful in my growth as a playwright. Arianna works tirelessly to encourage us all to improve and come back each session with rewrites. Her comments are always spot on, and she has an uncanny capacity to intuit where a script is not working and give solutions as to how to fix it. I think the term “script doctor” is a fitting title. I wouldn’t hesitate to encourage anyone looking for someone to help them move to the next level with their script to hire her. She has had tremendous success with her own work, so she knows what she’s doing. ”

— Donna Warfield, Playwright and Actor

Donna Warfield’s plays can be found on her New Play Exchange page here: Donna Warfield - NPX

______________________________

“Arianna Rose had the foresight to organize and run a playwrights group over five years ago. It meets weekly with the same core group of writers. As host, she has tremendous insight as to the structure of a play and always offers positive and helpful criticism to her fellow writers. Her work as a playwright is imaginative and she has received numerous production opportunities.”

— Marj O'Neill-Butler, Regional Rep, Florida, The Dramatists Guild of America

Marj O’Neill-Butler’s plays can be found on her New Play Exchange page here: Marj O'Neill-Butler

______________________________

“As an early-career playwright it is especially important to find the right dramaturg to help guide your way. Arianna Rose is that person for me. Although I have written quite a few one-act plays, and met Arianna when she directed one of my monologues for a festival, it wasn't until I decided to attempt my first musical that I learned the depth of her expertise. A founding member of the theatre supporting my work arranged for me to send the opening pages of my musical to Arianna and take advantage of her dramaturg services via telephone. Arianna has an extensive knowledge of the structure of musicals, a great understanding of character development, as well as wonderful listening skills, empathy, and the ability to provide clear and useful feedback in a way that showed me she really cared about helping me make my work the best it could be. “ — Nancy Rose Ostinato, Playwright

Learn more about Nancy Rose Ostinato here: Nancy Rose Ostinato Artistic Associate

Arianna Rose

Member, LMDA (Literary Managers & Dramaturgs of the Americas)

Longtime Member (20+ years) and South Florida Ambassador (2020 - 2025), Dramatists Guild of America

Dramatists Guild Institute Playwriting Instructor, Dramatists Guild of America

Playwriting Instructor with www.PlayPenn.org since fall 2025

Dramatists Guild Play Mentor, Plays in Progress Program

Founder & Moderator, Plays on Purpose/New Musicals (Weekly Stage Writers Group)

Creative Writing Instructor, Creative Arts School, Delray Beach FL 2024-2025

Former Founder & Moderator, 2022 Kennedy Center Women Playwrights Writers Group

Former Playwriting Instructor, Delray Beach Playhouse, FL

Former Creative Writing Instructor, Broward County Library System, FL

Former Creative Writing Instructor, Rockaway Artists Alliance, NY

Member, MAESTRA (MAESTRA provides support, visibility, and community to the women and nonbinary people who make the music in the musical theater industry)

M.F.A., NYU Tisch School of the Arts Graduate Musical Theatre Writing Program

Alumna, BMI-Lehman Engel Musical Theatre Writing Workshop

My process:

1. Read through a portion of your play or musical (at least the first twenty pages), which you have sent to me. I will determine whether I believe I can assist you and/or am available at this time for your project and let you know my decision. If affirmative, we move on to step two:

2. Either through email, a telephone conversation or zoom call, we go over your goals for the piece, the themes of your work, and any areas you already intuit need some attention or aren’t quite working. You can email me your themes and areas to work on. I sometimes ask for a scene breakdown to be emailed, including what happens in the scene and the dramatic reason why. We have a discussion of budget and rates.

3. I send you a standard LMDA contract with my fee based on our agreement, which you sign and send back to me.

4. I read through your play a second, and a third time as necessary, taking notes throughout based on our conversation and what you have sent me, and my own thoughts and ideas. In particular, I look at dramatic structure, characterizations, theatricality, and transitions between scenes.

5. I send you my report via email, often with some follow-up thoughts in an additional email a day or two later as I sit with it.

6. We schedule a follow-up telephone or zoom call once you have absorbed my notes, if you feel you need or want this session.

As of November 2025, I have adjusted my rates to match the rates I receive from the Dramatists Guild as one of their Play mentors in their Plays in Progress Script Consultant program. Note there is a discounted fee if you are a current member of the Dramatists Guild (except for the 1 or 2 ten-minute play options). If you book through me directly, you pay me directly.

1. $100 for 1 ten minute play and rewrites of same play.

2. $200 for 2 ten-minute plays and rewrites of each play.

3. $275 DG members/$300 non-members for up to three 10-minute plays or a short play less than 30 pages.

4. $300 DG members/$325 non-members for a one-act play (up to 60 pages total)

5. $325 DG members/$350 non-members for a full-length play (up to 120 pages total)

6. $350 DG members/$375 non-members for a full-length play (121 -150 pages)

7. $375 DG members/$400 non-members for a full-length play (150+pages) ‍

8. For all musicals of any length, the fee is $375 DG members/$400 non-members.

For all “Second Look” projects, the fee is the original consultation fee less 50%.

AI DISCLAIMER

I cannot offer script consultant services to you if you’ve used generative AI to write any portion of your script, due to concerns about ethics, the environment, and possible copyright violation from AI having plagiarized writing.

JUKEBOX & BIO MUSICALS

I cannot offer script consultant services to you if you are writing a jukebox or bio musical or play and have not already secured the rights for the copyrighted material you wish to use, as that would be a violation of copyright.

WHOSE STORY IS IT

I turn down certain projects if it’s not my or your story to tell; i.e., if you are a white person and writing a theatre piece about what it’s like to be a black person, or if the subject matter is something I have a strong personal reaction to that would preclude my being able to be neutral and give you the help you need. Some examples of that would be work that celebrates or glorifies misogyny, homophobia, racism, extreme violence, terrorism, or sexual assault.

I turn down projects if the subject matter is so foreign to me I don’t think I can help you, and will encourage you to find a consultant who would have that necessary knowledge. 

SOMETIMES TAKING A CLASS IN PLAYWRITING OR MUSICAL THEATRE WRITING IS THE NEXT BEST STEP BEFORE A DRAMATURG

I turn down some projects because your hard earned income would be better served by taking a playwriting or musical theatre writing class FIRST, so that you learn the basics of the craft, then employing a dramaturg when you have a solid draft. In those cases I always share a list of recommended classes, courses and books, and other places where you can find a dramaturg or script consultant if we are not a good fit.