Three years ago, Sam Christie, a graduate of Greensboro Performing Arts (GPA) and Weaver Academy, embarked on a transformative journey after earning a place at NYU's Tisch School of the Arts. Now, as he enters his final year, Sam has achieved another significant milestone: acceptance into the prestigious Lee Strasberg Theatre & Film Institute, renowned for its rigorous training in Method Acting and its legendary alumni (Al Pacino, Scarlett Johansson, and Lady Gaga, to name just a few), Strasberg trains actors not just in craft, but in the discipline and vulnerability it takes to move an audience.

Method Acting, as developed by Lee Strasberg, is a systematic approach to training the actor's "instrument"—their body, voice, and emotions. It emphasizes exercises that develop the actor's talent and provide a roadmap for creating authentic characters. This technique enables actors to deliver performances infused with a vibrant inner life, experienced on stage as if for the first time. (Strasberg University)

Students at the Institute often describe their experience as life-changing. One alumnus shared, "I've grown so much, not just as an actress, but also as a person. I've made so many good friends, whom I know I'll never forget and will cherish forever." Another student reflected, “The Institute gives young talent the tools not only to be a great actor in the present, but to evolve and adapt until the ‘Method’ becomes second nature...[lasting their lifelong career]"

Sam’s acceptance into the studio is not just a personal milestone—it’s a moment of pride for the entire Greensboro community. His growth reflects the power of local arts education and the possibilities that open when passion meets perseverance.

As Sam prepares to spend his final year immersing himself in the emotional rigor of the Strasberg method, his journey serves as a reminder to all young performers: your roots may be local, but your reach can be global.

We’ll be following Sam’s next steps closely—and cheering from the wings.

You can follow Sam’s adventures on Instagram (@)thesamchristie

Photo memories from GPA, Weaver and NYU:

Greensboro Performing Arts (GPA):

Weaver Academy:

NYU Tisch School of the Arts:

Method Acting

Explore the Who’s Who of Notable Alumni of LEE STRASBERG himself and or the Institute.

Teaching Legacy

The Roots of the Method

Before Sam Christie steps into the Strasberg Studio, there was Lee Strasberg. And before Strasberg, there was Stanislavsky…

When the Moscow Art Theatre, under the direction of Konstantin Stanislavsky, visited New York City on a tour in 1923, Lee Strasberg was astonished by the acting of the company. Their performances were alive, their behavior real and effortless, the company’s vision deeply human. It was as though they were experiencing real thoughts, desires, sensations and emotions on stage. For Americans, it achieved a degree of creative reality unlike anything they’d ever seen; for Lee Strasberg it was a revelation. Two actors from the Moscow Art Theatre, Richard Boleslavsky and Maria Ouspenskaya, opened The American Laboratory Theatre in New York City and for the first time brought to the United States the pioneering work of what Stanislavsky called “The System.” It was in their classes that Lee Strasberg grasped the seminal contribution of Stanislavsky and began his own investigation into solving the central problems of the actor. (from “What is Method Acting”)

Acting, Directing and Production (1959)

The following is an excerpt from Lee Strasberg’s article “Acting, Directing and Production,” published in the 1959 edition of Encyclopædia Britannica (14th Edition, 1929–73), in which he outlines the foundational principles of Method Acting.

Constantine Stanislavsky (1863–1938) set himself to fuse all the random thought and experiences into a form that could help the beginner and be of service to the experienced actor. His aim was to find a “grammar of acting,” to achieve that level of inspiration, or of living on stage, which great actors had found accidentally and sporadically. Without minimizing the value of voice, speech and body training, which are the actor’s tools, Stanislavsky tried to find means to stimulate and develop the actor’s essential requirements: his concentration, his belief and his imagination. He did not seek to fabricate inspiration, but to create the proper foundation for its appearance.

The actor, according to Stanislavsky, should come on the stage not to play-act but to perform the activities required of the character, to act. His appearance on the stage is not the beginning, but is a continuation of the given circumstances that have previously taken place. The actor trains his concentration so that he is able to create the impression of being private in public. He trains his senses so that he is able to see, hear, touch, taste, smell and relate to the many objects which compose his imaginary situation. He learns to use not only intellectual knowledge but emotional experience by means of affective memory. Wordsworth has defined poetry as originating in “emotion recollected in tranquillity.” Shaw emphasized that “vital art work comes from a cross between art and life.” Thomas Wolfe in one of his short stories and Proust in a passage in “Swann’s Way” have brilliantly described the workings of affective memory. It is not limited to the ability to recreate one’s previously experienced real emotions, but also to learn to repeat previously experienced stage emotions. The actor’s training of himself goes hand in hand with the actor’s work on a role. The actor learns to delve beneath the lines to find the meaning or subtext of a play. He learns to find the “kernel” or core of a part, to find the actions of the character that define the important sections, to set smaller tasks or problems for his concentration throughout each section. In later years Stanislavsky tried to correct the overly intellectual approach of this part of the work by simplifying the action work in terms of physical or psychophysical actions. Some have interpreted this as a reversal of his previous methods. Actually, it was intended not to rule out or contrast with, but to serve as a life belt by means of which the previous preparation and work on a role could be securely held onto, like the notes of a melody. (britannica.com)

Sam Christie’s Teachers:

GPA (Greensboro Performing Arts): Cassie Shintay, Carla Crotts-Massa, Suzanne Vanergrift.

Voice: Jaclyn Surso (first at GPA, then at Davis Surso Music)

Weaver Academy: Keith Taylor, Lindsey Clinton.

NYU (to date): (To come)

Caroline Donato

Caroline is now living in New York and following her dreams of being an actor. In August 2024 she auditioned for BrooklynOne’s fall production of The Night of the Living Dead and was given the role of Judy. Night of the Living Dead by Lillie Allen Ohm is a suspenseful adaptation of the classic zombie tale, exploring survival, fear, and human nature. The Show runs from October 3-6 [more details and Tickets link below]. Come back to this page after the show… for photos and an interview with Caroline.

Caroline grew up in Greensboro and studied performing arts from the age of 5. She studied voice with Davis Surso Music. She attended Weaver Academy, Greensboro Performing Arts, a UNCSA summer intensive drama program and the Carnegie Mellon Pre-College Summer Intensive. In 2023, she graduated from Ohio University with a BFA in Acting & Musical Theatre.

Learn more about Caroline on her website. Keep supporting her and stay connected by following Caroline on Instagram

About the Show

Click on the stage mag link to learn about the cast.

Thursday, October 3, 2024 - 08:00 PM EDT

Friday, October 4, 2024 - 08:00 PM EDT

Saturday, October 5, 2024 - 08:00 PM EDT

Sunday, October 6, 2024 - 03:00 PM EDT

Brooklyn One Productions (@bkONE):

The Tom Kane Theatre,
51 35th street, Industry city building 5
Brooklyn, NY 11232

GET TICKETS

Based on the thrilling George A. Romero classic film, Fall out from a satellite probe shot to Venus returns to Earth carrying a mysterious radiation that transforms the unburied dead into flesh-eating zombies. Seven people trapped in an isolated farmhouse, held hostage by the ravenous ghouls, begin to turn on each other as the dead encroach. A gripping terror-filled play that brings all the fright of the cult classic to life. This blend of thrilling horror laced with touches of black humor envelops the audience in the action and unfolds into a shocking theatrical ending.

In The Wings Post Show Interview with Caroline Donato

In The Wings interviewed with Caroline after the show to find out about her experience, what her first play in New York was like, what she learned, what made her laugh and what frightened her…

• What’s your favorite line or moment as Judy on stage?

Caroline: My favorite moment is when Tom (Kieran Cullen) and Judy have this private moment just before they are separated forever. It’s a nice moment of levity and romance within this world of play that’s in a constant state of chaos and uncertainty. It also allows the audience to see a glimpse of normalcy and in these character who have been thrown into an impossible situation.

• What was the biggest thing you learned or took away from performing Night of the Living Dead live?

The main thing I took away was that in order to really make the audience feel immersed in the world of Night of The Living Dead you can’t hold back anything! I had to get over the fear of doing too much whether that came to screaming my head off or walking like a zombie. You kind of realize that when it comes to this kind of play—the more the better!

• Did anything go wrong during the show? How did everyone handle it?

Caroline: Little things here and there went wrong and those varied from night to night. Nothing happened that really threw us for a loop but I did have a few moments of panic when doing my makeup quick change into a zombie! The change involved popping in fake white out contacts and it was always a bit harrowing to have to put them in fast and correctly each night!

• Was there a scene that was super hard to perform? How did you get through it?

Caroline: The hardest scene for me was actually after my character died. I really had to work out exactly how the zombie version of Judy moved and how she could interact with the audience in a unique and interesting way.

• Do you have a funny or behind-the-scenes moment (from rehearsals or performances) that you’ll never forget?

Caroline: There were a couple random lines throughout the show became inside jokes but the main behind the scenes moment that I’ll never forget was receiving some original artwork designed specifically for our production of the show! The piece immortalized our cast and was super special to be apart of!

• What was it like working with the director? Did they give you any cool advice or direction?

Caroline: John and Don were such a blast to work with! I couldn’t have asked for a better Director duo to work with for my first play in NY. They were both incredibly passionate about Night of The Living Dead and their love for the George Romero’s 1968 film brought something really special to the show. Even though the story takes play in 1968, we spoke extensively about how the themes of paranoia still hold up today and they even change based on our world’s current social climate. They really had an emphasis on approaching these characters with seriousness and full life. They both wanted to take a look at what happens to people when faced with an impossible reality, crammed into a small space and forced to make life changing decisions in an instant. They created the space for the actors to step back and assess how we might actually cope in a similar situation. I loved working them to peel back the layers of this play.