This study is informed by my dual practice as a drama and music educator in surging new routes in drama curriculum to address a significant and unsolved issue in education that impacts 98% of professional musicians (Beder, 2017)—music performance anxiety (i.e., stage fright). My research exists in a sub-field of music performance anxiety that is virtually non-existent (i.e., adapting acting education) and offers a practical approach to reduce debilitating (Powell, 2004) and harmful (Kenny & Halls, 2018) impacts of anxiety. The purpose of my study is to develop new drama curriculum as an educational intervention for managing music performance anxiety. My curriculum design is based on: acting education (e.g., Stanislavsky & Hapgood, 1936/2004; Strasberg, 1996); my 13 years in curriculum and acting; robust curriculum design principles (Meyers & Nulty, 2009); curriculum theory (e.g., Dewey, 1916/2018); self-presentation theory (e.g., Leary, 1983); and feedback from my doctoral study. This three-part qualitative study consists of the creation, implementation, and assessment of curriculum. I will be presenting my curriculum as a workshop in January 2026 at the University of Victoria with 10 participants (e.g., British Columbia based professional musicians with music performance anxiety). I will use interpretive phenomenology (Okoko et al., 2023) to investigate the effectiveness of my intervention using interviews and I will analyze the results using descriptive content analysis (Neuendorf, 2016). In assessing the impact of the curriculum and workshop, I will examine how acting curriculum can be a viable way to support the wellbeing of professional musicians in managing music performance anxiety.