Musical theatre is a unique genre which requires people with a strong skill-base in singing, acting and dancing, and the ability to combine these core skills into a convincing performance. It is therefore incredibly important that training for the musical theatre stage should increase an individual's ability in all three disciplines, as well as teaching the integration of these skills. The 'Complete Performer' will have much to offer as a 'triple threat' and should be prepared to embrace all elements of their chosen course.

You need to think carefully when choosing a course. There are some courses that simply offer musical theatre as an addition or extension to their acting or dance curriculum rather than as a separate and specialist arena. This is evident in the balance of the training, offering far too few singing-based classes within the timetable.

The minimum requirement for an individual embarking on a career in musical theatre today is a strong singing voice, and good training should recognise this. So when looking at which course to choose, find out as much as you can about the actual timetable of the course, to make sure you are getting the best possible training in ALL three of the core skill areas.

When considering vocational training in musical theatre, there are three main options open to a prospective student: a performing arts degree, which usually lasts for three years; a three-year musical theatre course; or a one-year musical theatre training programme. Choosing the right course for you is essential.

For some individuals three years of training at a reputable establishment is imperative as they may have potential but limited stagecraft or technical foundation. These people need three years to develop their skills and abilities to achieve their goals.

When considering vocational training in musical theatre there are three main options open to prospective students: a performing arts degree, which usually lasts for three years; a three-year musical theatre course; or a one-year musical theatre training programme. Choosing the right course for you is essential.

For others a three-year course is neither necessary nor desirable, especially when considering the high cost of tuition and living expenses. In the main these people fall into the following categories:

a university graduate that may have previously embarked on a more academic type of degree and who now seeks to supplement this with a practical and career-oriented performing arts training;

someone who has already taken a two-year course, for example a BTEC Diploma (which they would usually have studied between the ages of 16 and 18) or a Higher National Diploma (HND), is naturally talented and is now mature enough to cope with a more intense approach;

a mature individual who may have extensive non-professional stage experience, has privately embarked on singing lessons and dance classes, and now wishes to pursue a professional career;

somebody who has extensive experience on the cabaret circuit, who possesses a strong singing voice and now wishes to embark on a career within theatre.

At London School of Musical Theatre (LSMT), for example, there are no hard-and-fast rules as to who would be a suitable candidate, and the main criterion for admission is that they must demonstrate a level of maturity, experience and talent that will enable them to reach a professional standard in one year. This assessment requires experience and an understanding of the ever-changing needs of the industry.

However, there are other institutions that have different intake criteria for their one-year programmes. Some courses are designated 'postgraduate' and only take degree holders or students over the age of 21. It is therefore important for a prospective student to ensure that they check with the course provider and that they satisfy any intake criteria that may apply.

When choosing the one-year option, check first that the course provides:

an approach to working with the weaker aspects of an individual's skill-base, as well as maintaining and working on their strengths. This is the key to improving their employability;

a balanced curriculum with an understanding of the unique requirements of musical theatre (the course should not be an acting course with some token singing classes!);

an extremely intensive training programme. There should be few if any 'free periods', students should be pushed as hard as possible and expectations should be very high. Learning through application in performance should also be a key component;

preparation for the business including guidance with regard to agents, CVs, photographs, tax and National Insurance issues;

good prospects of employment. In today's competitive industry, high-quality representation is essential to a young person embarking on a career in theatre. A reputable establishment will ensure that the students get exposure to good agents in their final term, in the form of either a well-attended showcase or preferably private auditions with top agents.

A prospective student should research the institution's track-record regarding obtaining representation for their graduates. It is also an excellent idea to keep an eye on the biographies in show programmes and see where the cast members trained.

A one-year course isn't right for everybody but if you are a talented and hard-working individual with a mature and focused attitude, it may be the perfect route to achieve your career objective.

Upon graduation I believe that young professionals need to view their career path very much as a new business. To work hard on achieving their own goals and not just sit back and let agents do all the work for them.

There are many job-seeking websites and organisations that display casting breakdowns, allowing actors the chance to begin the huge task of networking and crafting the letter- writing skills which must become second nature to any determined performer.

Most agents will not oppose this practice as long as they are aware of your actions and you regularly communicate your submissions to them. In the same way it is fit and proper that they proffer submission information back to you. Of course some agents and personal managers may ask that you leave certain contacts and organisations to them so as not to risk dual submissions.

Should you find yourself without an agent then the aforementioned practice must become part of your daily routine.

Your school or college should be able to guide you towards the right agent and area of employment suitable for you.

During the last term of your training it is vital that you have in place all the information/materials required to impress and begin seeking work:

a professionally designed and clearly defined CV, with a true and accurate account of any credits and skills;

a black-and-white portrait head shot. It is always best to use a professional theatrical photographer and let someone else that you respect and trust help in choosing the shot which shows 'the real you'. Vanity can often cloud our own judgement when it comes to selecting our own pictures;

a portfolio of audition songs all neatly taped and marked in the correct keys, covering a variety of musical genres and styles. You should have a clear understanding of the emotional journey of all your songs;

both classic and contemporary monologues. You should have read and understood the play and be fluent in answering questions about the scene and characters. Audition panels often like to discuss your choices ;

a basic pro forma letter that can be adapted and changed to best suit the role/production for which you are applying.

The performer must be able to accept rejection and disappointment - it is a truly complex industry where an infinite amount of factors amount to a casting director's decision. You must trust your training and determination while taking a realistic view of your abilities.