There are countless musicals, TV shows, and films that all start off the same way: boy/girl arrives in New York City (establishing shot of “Broadway” street sign), just a dollar in their hand and a dream in their heart to make it on the Great White Way. Inevitably, this idealistic protagonist endures rejection and hardship, but by the end of the program, they are “discovered” and the show ends with their name up in lights. It’s a catchy story; probably has some great dance numbers. It’s also completely and utterly unrealistic garbage.

As a high school theater teacher and active member of the local theater community, I’ve watched many go through that same narrative only to eventually move home with significantly lighter pockets and significantly bruised egos. I’m not saying that careers in the performing arts shouldn’t be pursued—quite the opposite. What I am saying, however, is that there is a sensible path that’ll lead you to Broadway, and that it doesn’t start with immediately moving there.

I will be honest with you; you don’t need a degree in theater to have a career in theater. It does, however, help immensely to have one. Plus, moving up to New York at 18 to just start auditioning for shows is a massively risky move for two reasons:

First, unless you’ve been doing professional theater since you were much younger, you don’t have your Equity card yet, and if you’re asking what Equity is right now, then you definitely don’t need to move up there anytime soon! For those of you who don’t know, Equity is the actor’s union, and, long story short, they rule Broadway. You must be a part of the union not only to be in a Broadway show but also, in many cases, to even be guaranteed an audition for one. Sure, a production may post an audition as open, but if you’re not union, you may wait in an audition line for hour only to have a staff member announce that they’re not seeing any more nonunion actors today. If you’re Equity, you sign up for an audition time, and you’re assured that someone will at least look at you. Much better to have your card or at least be an EMC (Equity Membership Candidate) until you start hitting those NYC auditions on a regular basis.

Secondly, you’ve probably made peace with the fact that you will be waiting tables on the side until you’re making enough money doing only theater in order to live until you can make a living off of theater alone. There’s a really good reason why the restaurant industry employs so many performers. The hours are often flexible so when an audition comes up, you can rearrange your schedule. However, you can’t get your license to serve alcohol until you are 18, and the best serving jobs are going to come with that license. If you have a late birthday, you’ll have to wait to get the training and take the necessary courses for you to make decent money as a server. Otherwise, you’ll need to take up so many shifts to get by with those New York living expenses that you’ll have no time to audition, which is why you moved up there in the first place.

Doing college theater gives you time to hit both of these milestones, and it also gives you two very important things: training and connections.

People can say all they want about “natural talent,” but those of us who know this business know that nobody bursts out the womb spouting Shakespeare or sounding like Pavarotti. You need training, and studying theater in college provides that. Even after you’ve graduated, you should never stop taking classes. You are your instrument. Not continuing to learn is like buying a piano and never tuning it.

You’ve probably heard people say, “It’s not what you know, it’s who you know,” and boy is that true in theater. Having connections will get you in the door faster than anything else, and your college theater professors are a fantastic resource. Working closely with them, not just going to class and then leaving, will show them that you’re willing to go the extra mile, and if they see you working hard, then when one of their friends needs a hand, they’re more likely to say, “Well, I have this student who’s really on the ball; I could ask them.” This happens in theater constantly. You may even be able to ask them, “Oh I want to go audition for this. Do you know this director or any of the other creatives?” Chances are, they may, and they could put in a good word for you. You never know. One thing that I tell my own students all the time: You’re always auditioning. Knowing more people means that you’re auditioning ten times as much as someone who knows no one.

So stick with it, and go for that degree. You’re setting yourself up for success, which is much better than diving into the deep end without any idea of which way to swim. You can enjoy all those “sudden fame” musicals all you like in the meantime. Just make sure that when you walk under that Broadway street sign, it’s a gig instead of on the way to the poor house.