I coach kids. I work with no more than 5 a year and I do it as a way to help kids who have potential navigate this crazy, cumbersome process. If your daughter did not do substantial planning on her material with or without a coach, then taking a gap year would probably be the best call. There are so many facets to this process but I can tell you the recruiting faculty member from Hartt (Tracey Moore) who goes to most of the auditions is the one who wrote the book " Acting the Song: Performance Skills for the Musical Theatre" that many colleges (including Hartt) use as a textbook for mt. I have had several kids pass their prescreens and every one of them has had great acting through the music skills in their prescreens and initial audition. That is a huge criteria for them (for obvious reasons). But it is for many other schools as well. (Some directors – most directors – will tell you the “acting” is more important than anything else.)
Every school is different, but here is what I tell the kids I work with. It is not a talent competition. In fact, I would venture to say it’s only 50% talent and 50% type. You have to know your type — what roles would they cast you for? What would you do well? Your songs and monologues have to be relevant to you and within a playable age of your age now (usually 5 years more or less). These schools need to be able to visualize how they would use you in future seasons/roles. They are casting for a “four-year” production. Rejection doesn’t often have anything to do with ability. They just might already have one of you. And as much as they love you, they don’t need another. I have one kid now who has NEVER had a lead in her life and she has racked up an unbelievable number of callbacks and auditions and outright offers. The most I have had from any MT kid ever. And did I mention not only has she never had a lead but she also is a mover not a dancer?
How?? Even her parents are asking that… I know exactly how. She has a strong voice. She had a great teacher with a broadway/pop focus over the last two years and has mastered her head voice and mix, not only her chest voice. She and I have worked on her acting the music very well as well as her monologues. And, she skews younger in appearance. We planned all her material to fit that type. I am not going to lie, I was a little worried about her but she has blown up my expectations. For a kid who has never had a lead or strong vocal supporting role before (I cast her as Lavender in Matilda in 2019 and she was an understudy to Robin in Godspell that I directed). She focused her entire pandemic on her voice and it paid off. And she is not just doing the songs she loves for her audition and prescreens. She is doing songs that fit her type.
All of this means you need a great coach will help you with. You have had several suggestions. Don’t worry about her age (for gap year). I know of a transfer student to UCO this year for MT who was 29!! I honestly don’t think some schools care.
I would open up your net to see if you can include 25-30 schools (typically what I recommend for female MT auditioners). I also agree you have a lot of reach schools on there. There are some amazing programs that are more mid-level programs that you should add. Lots of options in the northeast but Ithaca, Hartt, etc. are more reach-y.
I would definitely reach out to David Hugo at LIU Post or Rebecca Overton at CAP 21/ Molloy. Both of them tend to have more rolling applications and both will be at Unifieds in Chicago.
But please get her to work with someone to at least make sure she has the right material for her. 
I hope this helped.