Musical theatre is a unique genre which requires people with a strong skills 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 teach 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 area. 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 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 some individuals three years of training at a reputable establishment is imperative as they may have potential but a limited stage-craft or technical foundation. These people need three years to develop their skills and abilities to achieve their goals.

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

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

When looking at the various options available, check first that the course provides:

an approach to working on the weaker aspects of an individual's skills 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!

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.

You 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.

Upon graduation young professionals need to view their career path very much as a new business - to work hard achieving their own goals and not just sit back and let agents do all the work for them. Your school or college should be able to guide you towards the right agent and area of employment suitable for you.

There are many job-seeking sites 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're 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. 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.

During the last term of your training it is vital that you have in place all the information 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

both classic and contemporary monologues, well learnt and with having being read in full and understood the plays from which the scenes have been taken

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