04/23/2026
Acting in Readings, beginning May 14, 6 pm Central is specifically designed to equip actors with the techniques and practice that can make them more valuable and castable in the play development process. And, because it is offered online, actors anywhere in the country can take the class and be added to Chicago Dramatists’ casting database!
Here, instructor Adrianne Cury previews key techniques.
CD: Adrianne, when we were thinking of offering a class for actors who participate in developmental readings, I reached out to several Resident Playwrights to recommend a good person to develop and teach this class. They came back fast and unanimous: Adrianne Cury! Here's what one said: “She's an Equity actor who reads regularly with CD. She has directorial experience and she's been an acting teacher in Chicago for years, so she has lots of experience working with actors. And, on top of all that, she's married to a playwright! If she's available, she'd be perfect...” We agreed!
You had to develop this class from scratch, drawing from your experience directing and acting in readings and teaching acting. Tell us how you thought about what would be helpful to actors.
Adrianne: I believe any time an actor can get outside of a self-focus, they become better actors. The most important person in the room is your scene partner/s(not you). Add a notch to that to remind oneself that you’re serving the playwright, and you will ‘act’ all the better.
CD: Acting classes over Zoom might not be ideal, but they definitely let more people participate. How do you structure class time and process to account for the medium? And, as actors are increasingly being asked to do more not in the room with people, can you comment on that?
Adrianne: I cannot say I love acting for the theatre on camera, but it is the world in which we now find ourselves. So this is an effort to combine the best of stage and screen. I’m somewhat strict with myself about giving equal time to actors, but in this class, since we’re centering assisting the playwright’s process, there will be some discussion about how best to do that: when to make comments, how to be concise, as well as when it would be best to merely play the role as it is on the page, and trust the writer will glean what is and is not working.
CD: You’ve acted in the Ashland New Play Festival twice. What did take away from your experience that informs what you’ll do with Acting in Readings?
Adrianne: I think there are ways to ask questions as opposed to delivering judgement that can help the writer begin to process on their own what you may find confusing. Assuming you’re a thoughtful actor, your queries may be illuminating to the playwright.
CD: Your pedagogy draws from the 12 Guideposts, based on Michael Shurtleff’s book, "Audition." Called “a strong, practical approach to personalizing scripts, creating importance in a scene, and making clear, unique choices,” how will you help actors apply the Guideposts specifically to readings?
Adrianne: Oh, gosh, when I was first hired to teach the Guideposts, I was teaching exclusively how to work on them in and for auditions, specifically. So my now 22 years as a teacher has roots in the whole idea of acting better faster! I hope to expose the class to a variety of writers and styles, so that they can begin to pinpoint the markers of satire, drama, et al. For years I taught a class wherein each week the actors would all be assigned scenes from a specific playwright. I find it useful in teaching actors how to ‘see’ a style, a writer’s modus operandi. Anything I can do to get actors off themselves and on the action of the play is good!
CD: In thinking specifically about what CD asks of actors in our classes, as opposed to our readings and festivals, they may have to come at a script absolutely cold, and jump into several scripts and characters in one session. In Acting for Readings, they will learn and practice several techniques for making strong, quick choices. But what’s one tip you can drop here to help in these situations?
Adrianne: Let go of your preconceived notion of you as a limited being. You contain multitudes!
CD: I think that's good advice for all of life! As a director who casts for readings, what else do you look for?
Adrianne: That willingness to play while taking emotional risks.
Register Now!
With Adrianne Cury On-line 6 Thursdays May 14, 21, 28; June 4,11,18 6:00pm – 9:00pm Central Time
