Stagecoach is a funny one in that like any franchise model, you get the standouts and the bog standards. There are a couple Stagecoach locations on the edges of London who have multiple kids in West End shows and regularly perform as a group at things that are not just a Stagecoach show for parents. If you’re in one of those, I feel like you would know because those successes would be mentioned. If so, then she’s in a great place. If not, it would be good to look at other options that could be instead of or in addition to depending on everything from how quickly she outgrows their training, the schedule, your budget and so on.
For singing, I would ask for a trial session go watch the lesson. Don’t interact, just watch from a window or a corner of the room. Voice lessons run the gamut and it’s helpful to see the teaching style to know whether it will
help her. Some teachers focus on building repertoire and learning through knowing lots of songs in a variety of styles. Other teachers focus more on the technique and building strength and control in a voice before putting that into practice with actual songs. And some just know what will get a distinction in the exam so they essentially teach to the test and don’t really think about the bigger picture. Each has a purpose but you need to see the best fit for your performer. You should see dramatic progress relatively quickly with 1:1 lessons, so if you go a half-term and cannot put a finger on anything that has improved, move on to find the right teacher.
I’ve never known Stagecoach to teach music theory so she’ll need to get that on her own. There are lots of online lessons and workbooks. It is possible to learn it without a musical parent if needed. The current method of teaching young performers means their understanding of music theory is inconsistent and many stage schools are just using lyric sheets rather than sheet music all the way through. But when cast in a show, there is an inevitable moment when you are given sheet music and expected to learn it from there, and I can confirm these auditions and rehearsals are infinitely more pleasant when performers can read the music! It is a worthwhile use of her time and will make her a stronger performer.
ABRSM offer singing for musical theatre in addition to classical singing. LAMDA offer musical theatre in addition to their acting and public speaking options. The two are different in requirements and assessments. ABRSM have a list of songs and you choose one from each category plus a free choice and sing the set as a mini concert. There is no interview and no theory below grade 6. The assessment will mark for very technical singing so there is no forgiving a note that is flat or a rhythm that is wrong by making up for it with good acting for song - but they are also marked on their acting for song. LAMDA MT exams can be any songs, but they are marked predominantly on the performance and small technical flubs will not greatly affect the mark as long as they didn’t break character. There is an interview that includes a known set of theatre things they should know at each grade, and as they go up the grades, they also have to learn monologues and small scenes to lead into their song rather than singing it in a concert style.
Apologies that is possibly more than you would like to know but as you are considering both, it seems like it might be relevant. And then here is the kicker: both can be nice for learning but are not really required. When auditioning for shows, no one is ever going to ask or care about exam results. We only added ABRSM because a school opportunity had a minimum grade requirement to join the activity. We do LAMDA because it is offered through our school and it’s essentially the only thing in that category at school so it works for us but never ever has a casting director had the slightest interest in anything like that. Do it if it works for the child, not because you feel there’s a requirement.
And you are right, she’s going to need way more than one hour of dance. She will need ballet if she wants to do a musical theatre programme. She doesn’t have to be great at it! She just needs to learn the terminology and the body control, as that then makes it possible to learn the choreography in an ensemble. If she finds ballet really boring (and many talented MT performers do, so this should not be seen as a sign of failure) then try pairing it with another lesson in jazz, modern, tap, or street. Each has its own vocabulary and style but it all interlocks and creates a well rounded MT performer. Think of MT dance as needing to be a jack of all trades - they might need ballroom in Dirty Dancing or Moulin Rouge, then jazz in Chicago, then do a show with a dream ballet or a big tap number. The more versatile the better, but not to a point where an 8 year old is overwhelmed.
Now not to throw you in the deep end, but if you are within an hour to the West End and wanted to go for it, Les Mis are currently looking for girls to play young Cosette and Eponine - they can be 8 and have to be under 4’ 4”. There is no dance in this show and Cosette actually leaves partway through Act 1, so it is an ideal entry path. The audition process is not brutal. You don’t need an agent to apply but it closes very soon which is the only reason I mention it. On one hand, I’m probably overdoing it. On the other, if you have an MT obsessed girl who sings Castle on a Cloud at you so much you’re tempted to give her a broom and make sure she’s actually being useful, then you’ll kick yourself if you wait and she’s too tall. The details are on the Les Mis Instagram account.
All the best and I’m sorry for not being good at short and sweet messages.