The place of listening in actor training has received limited discussion. This paper explores common ground between actor training and music education in the context of a UK university conservatoire. It examines the philosophy, principles, and practice of Emile Jaques-Dalcroze, the initiator of Dalcroze Eurhythmics. It acknowledges the influence of the historic work undertaken by Jaques-Dalcroze and Adolphe Appia at the Hellerau Institute in Germany. It follows the threads of embodied musicianship that have influenced theatre artists including Konstantin Stanislavsky, Sanford Meisner, and Anne Bogart. It maps the intersections between music and movement in contemporary actor training to locate the pedagogic place of listening in actor musicianship and other hybrid forms of music theatre. The paper offers a novel perspective on traditional barriers between actor training and music education that fosters a holistic approach to listening in a higher education drama school.