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Stepping into the industry can feel exciting, daunting and, at times, surprisingly lonely. But one of the most valuable things you can do as you leave training is remember that you don't have to navigate it alone. If you are about to graduate from professional training, I want you to take a moment to acknowledge what you have already achieved. Professional musical theatre training is demanding - physically, emotionally and creatively demanding. You have spent years developing

One of the most interesting conversations I keep finding myself having with clients is around the things they still carry from training years later. Not technique. Not necessarily vocal development. But statments. "I was always told I shouldn't sing that" "I was told that wasn't my casting" "I was told you can't sing it like that in auditions" And what strikes me is how often these comments have stoped being remembered as somebody's opinion or perspective and instead have bec

In my last blog, I explored the master/apprentice dynamic in vocal training - the quiet authority that exists within one-to-one singing lessons, and the influence that naturally comes with being a vocal coach or singing teacher. Following on from that is another, slightly more uncomfortable (but equally important, if not more) consideration: our own artistic preferences, identities and biases - and how much space they take up in the vocal coaching room. This isn't about blam

For as long as there have been singing teachers, there's been a certain image attached to the profession - the wise master passing down knowledge to the eager apprentice. It's a model that has shaped generations of singers and, for many of us, formed the foundation of our early training. But as our understanding of learning, creativity, and performance psychology has evolved, it's worth asking: is the master/apprentice model still serving today's singers? In my work as The Bi