Over my many years of singing, voice teaching and music education I have learnt and made judgements on aspects of music theatre that have developed and inhibited me as a musician and educator. This has led to new insights and questions that have contributed to this study. The focus of this research has been on the expectations for a male performer in the music theatre discipline, and the training required for this genre. This dissertation traces my development as a music theatre vocalist through the presentation of three performances. This is supported by the literature, autoethnography and other forms of research. The first performance presented repertoire highlighting my embryonic understanding of music theatre performance. The second performance demonstrated my developing stage skills in a production, incorporating a small cast. Finally, a theatre restaurant performance demonstrated my development as an emerging music theatre performer. The findings in this research outline the complementary disciplines of classical and contemporary singing, the importance of triple threat to music theatre. It also comments on potential emotional and mental hurdles faced by music theatre trainees.