David Weinberg, PhD

David Weinberg, PhD


About this pro

I am a Royal Academy of Dramatic Art and CalArts graduate and I have recently relocated back to the US after living in London for the past fourteen years. I teach acting at UNR and I am a member of the Screen Actors Guild, Actors Equity Association, and Actors Equity UK. I have worked as both an actor and director in London's West End and appeared in such films as the multi-award winning Citizen Welles and Edward II. Past leading roles include Pulling Petals directed by Emmy Award Winner Michael Goorjan at the Hudson Theatre in Hollywood and the original production of the Tony-Nominated Broadway play Sixteen Wounded. I received a directing award from the Kennedy Center for the Performing Arts for directing a new play called Bree Anne's Man by Joe Spencer.

In London's West End I directed projects at the Arts Theatre, St James Theatre, Trafalgar Studios, the Leicester Square Theatre, and the Soho Theatre as well as Off-West End at the Young Vic Theatre, King's Head Theatre, Rose Playhouse, Baron's Court Theatre, Etcetera Theatre, RADA and a festival hosted by the RSC in Stratford-upon-Avon. I was the first American to direct at the historic Rose Playhouse where the plays of Shakespeare were first performed. My first book was published in 2017 by Columbia University Press in America and Ibidem Press in Europe and I currently teach acting at the University of Nevada.   

I love acting and actors and I enjoy turning on the TV or going to the movies and seeing people I have worked with involved in the creative process.

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Reno, NV 89503
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What is your typical process for working with a new student?

The philosophy of teaching I apply revolves around combining the experience of professional practice with major established methods of actor training. The life and writings of the Russian actor, director, and theorist Konstantin Stanislavski (1863-1938) are generally considered to be the first major systematic training method for actors. I believe that the techniques and methods introduced by Stanislavski form a foundation for actor training and are to be regarded, in a certain sense, as a kind of tool box for the actor. I endeavor to create an approach to teaching which utilizes the student’s own innate creativity for both interpretive work with a script as well as new and experimental forms.       

In her book Actor Training (2010 2nd Edition) Alison Hodge details the training methods of not only Stanislavski but also Stella Adler, Eugenio Barba, Anne Bogart, Bertolt Brecht, Peter Brook, Michael Chekhov, Joseph Chaikin, Sanford Meisner, Meyerhold, and others and I believe that it is important for a teacher of acting to have a working knowledge of all of these methods so that they may be applied as and when appropriate for a specific actor. In short, I believe that an actor’s approach to a given role should be directly determined by the specific needs of a particular play, screenplay, or devised work. In addition, I was a protégé of the late Charles Marowitz (1932-2014). Charles was the first American to direct at the Royal Shakespeare Company, wrote a Broadway play (Sherlock’s Last Case 1987), and directed London West End premieres of such plays as Joe Orton’s Loot (Evening Standard Award for Best Play1966). 

What education and/or training do you have that relates to your work?

I currently teach acting and theater history at the University of Nevada and before this I taught theater courses at the University of London, Kingston University London, two Further Education Colleges (British equivalent of a junior college) as well as workshops for professional actors. I completed a PhD scholarship in drama at Kingston University London in 2015. I received an MA (with Merit) from the Royal Academy of Dramatic Art and a BFA from the California Institute of the Arts. I was a visiting scholar at Oxford University during my undergraduate studies. 

I have worked as both an actor and director in London's West End and I am a member Actors Equity Association, the Screen Actors Guild, and Actors Equity UK. In London's West End I have directed projects at the Arts Theater, St James Theater, Trafalgar Studios, the Leicester Square Theater, and the Soho Theater as well as Off-West End at the Young Vic Theater, King's Head Theater, Rose Playhouse, Theatro Technis, Baron's Court Theater, Etcetera Theater, RADA and a festival hosted by the RSC in Stratford-upon-Avon. I was the first American to direct at the historic Rose Theater, Bankside where the plays of Shakespeare were first performed.

In Los Angeles, I directed American Buffalo by David Mamet at the Hudson Theater in Hollywood and My Thing of Love by Alexandra Gersten at the Actors Lab Theater (with extended engagement). As an actor I have performed in London’s West End and played major roles in the 50th anniversary production of Cannery Row (Editor’s Choice American Theater Magazine) and the original production of the Tony-Nominated Broadway play Sixteen Wounded. My book, Off-Broadway/Off-West End: American Influence on the Alternative Theater Movement in Britain 1956-1980 was published in September 2017 by Ibidem Press in Europe (Hamburg and London) and is available under the Columbia University Press imprint in the USA. I was a consultant on a film called Meeting Jim which is an official selection of the 2018 Edinburgh International Film Festival and I was in a film called Goodbye Jane which was screened at a film festival in Canterbury, England at the end of last month. 

Do you have a standard pricing system for your lessons? If so, please share the details here.

I charge $40 for each 90 minute lesson. Lessons take place on the UNR campus.

How did you get started teaching?

My mother is a teacher and I orginally started teaching by assisting her when I was a teenager.

What types of students have you worked with?

I have extensive experience teaching acting at both university and professional levels, to students with various levels of training and ability, as well as recent professional experience in London’s West End.

Describe a recent event you are fond of.

I enjoyed launching my new book and watching an actor I had worked with at the California Shakespeare Festival win an Oscar. 

What advice would you give a student looking to hire a teacher in your area of expertise?

Find a teacher who you feel comfortable with and who will build you up and give you personal attention instead of tearing you down. 

What questions should students think through before talking to teachers about their needs?

The first thing I discuss with students is what their vision is for themselves and where they want to be as an actor. We can then develop a set of skills that will help them to achieve those outcomes. 

Lessons offered

Acting Classes Child Acting Lessons