Written by Alina Rose Armstrong

Born in Torreón, Mexico, a small town near the Texas border, LSTFI alumnus Eduardo Olmos found an unexpected path to acting — one that ultimately lead him a role in the critically acclaimed film La Cocina, starring Rooney Mara.

Unlocking a Passion for Acting

At 13 years old, during an extended stay in the U.S., Eduardo took on his first acting role in a production of Twelfth Night. At the time, he had not yet mastered English and was still adjusting to American culture. He recalls struggling to understand his lines, ultimately learning them phonetically. Even so, Eduardo was drawn to the tangible experience of performing on stage. Prior to this, his acting experience had been limited to school pageants, where the focus was “more on waving to [his] parents in the audience than on the craft itself.” Twelfth Night, however, sparked his passion for acting and, as his English strengthened, Eduardo realized that pursuing a career in the field was his true aspiration.

Eduardo’s parents, fully supportive of his ambitions, encouraged him to apply to New York University to further realize his talents. After performing a monologue from The Glass Menagerie for his Tisch Drama audition, Eduardo was asked about his process for getting into character. Although he didn’t realize it at the time, the approach he described closely mirrored the principles of Method Acting. Ironically, Eduardo recalls walking out of the audition thinking that as long as he didn’t end up at The Institute, he would be content. Little did he know, his natural approach to acting was perfectly aligned with Lee Strasberg’s renowned technique and he was placed directly into The Lee Strasberg Theatre & Film Institute.

Studying at LSTFI

Initially, Eduardo was apprehensive and intimidated by the rigorous demands of The Method. But, within two weeks of his freshman year, he was completely captivated by the approach. He describes that time as both “exhilarating and overwhelming — an intense period of personal and professional growth.” Eduardo quickly discovered that the technique was far removed from the common misconceptions of Method Acting. He easily connected with exercises like sense memory and substitution, experiencing significant breakthroughs with the material. He credits his instructors, including Lola Cohen and Tim Crouse, for their attentiveness and practical approach to teaching, which helped him fully immerse himself in the work.

Breaking into the industry proved challenging for Eduardo. After graduating in 2017, he was forced to return to Mexico when his visa expired. Just as he was about to receive a new one, the pandemic halted all immigration processes, leaving him uncertain about his future. Despite this setback, he remained determined, keeping his passion alive by working on short films, commercials, and collaborating with friends — all while continuing to audition. Eventually, his persistence paid off when he signed with a manager he trusted, who helped him secure a role in the critically acclaimed film La Cocina.

Landing the Role

In 2022, Eduardo auditioned for a mysterious project, only knowing that Rooney Mara was set to lead the film. The audition process was unconventional, involving a self-tape with minimal details about the director or the project itself. Despite the limited information, Eduardo instinctively knew the role was a strong fit for him. The process, however, took a unexpected turn, as it unfolded during the planning and execution of his wedding. The first twist came when, while at his bachelor party, he received a call from his manager informing him that the director wanted to speak with him about the role the following day.

After a night of celebration, Eduardo found himself on a serious phone call with the director. Things didn’t get easier when, during a wine tasting in Mexico City, he received another call from the production team. Through terrible cell reception, they bombarded him with questions about shaving his beard and his comfort level with various appearance changes. Just three days after his wedding, Eduardo had to pack his bags for a month of rehearsals. Balancing two of the most important life event — his wedding and this pivotal professional opportunity — was no small feat, but it made the entire experience all the more surreal. The whole audition process, from the initial self-tape to the final callback, marked one of the most chaotic and significant moments of his life.

Alonso Ruizpalacios’ La Cocina

Directed by the acclaimed Alonso Ruizpalacios, La Cocina is a high-stakes drama set in a fast-paced Times Square restaurant. The film explores the lives of undocumented immigrants navigating the complex pressures of their work and personal ambitions. Starring Rooney Mara and Raúl Briones, La Cocina had already garnered buzz, premiering at prestigious festivals like the Berlinale, Tribeca, and the London Film Festival. Ruizpalacios, known for his distinctive auteur-driven style with films like Güeros, Museo, and A Cop Movie, brought his signature depth and social insight to this ensemble piece.

Eduardo’s role as the tough, unlikeable restaurant manager required him to dig deep into the complexities of his character. He utilized the full range of techniques he learned from The Institute, especially the “pain comes before anger” principle, to make his character both compelling and believable. The rehearsal process was unlike anything Eduardo had experienced before. With a full month of improvisational rehearsals, the production approached the material like a stage play, allowing the actors to explore their characters through discovery and improvisation. Eduardo found this approach liberating, helping him to connect more deeply with the material and his fellow cast members.

Reflecting on his journey so far — from the unexpected path that led him to La Cocina to his evolving understanding of his craft — Eduardo feels “grateful for the opportunities [he has] had and the lessons [he has] learned” and hopes to continue to bring authentic, complex characters to life.

Written by Haley Engen

Klara Eales, a proud alumna of The Lee Strasberg Theatre & Film Institute and recipient of the Fall 2023 Eleonora Duse Scholarship, has taken her passion for storytelling to inspiring new levels. A graduate of the One Year Conservatory program, Klara recently made her Off-Broadway debut as an Artistic Director, producer, and actor with Are We In Love Productions, a female-driven theatre and film company. Their production of Brilliant Traces by Cindy Lou Johnson ran at Playhouse 46 from December 6-8, 2024, under the direction of Shira Behore. This debut was a defining moment in Klara’s journey, rooted in her passion for connecting people and her unwavering love for the craft.

A Journey of Resilience and Creativity

Klara’s story begins in Yemen, where her childhood was filled with imagination. She created home videos, casting her brother as an actor and her cousins as stage managers in makeshift productions. “Acting was always a part of me, ” Klara recalls. However, her creative outlet shifted when her family moved to South Africa due to conflict. Facing the challenges of culture shock and a new environment, Klara found solace in writing, which became her primary mode of expression.

After high school, she stood at a crossroads to either pursue a conventional career in medicine or follow her artistic dreams. Opting for the latter, she enrolled in a screenwriting institute in South Africa. This decision was prompted by asking herself, “What is one thing you have never lost? Something that you have always loved? Writing.” It was there that Klara rediscovered acting, a medium she realized gave her depth and confidence. Determined to immerse herself in theater and continue her craft, she made the bold decision to move to New York City, where the art form thrives in its purest, most alive form.

Discovering The Lee Strasberg Theatre & Film Institute

Klara’s introduction to The Lee Strasberg Theatre & Film Institute came serendipitously. While staying in a hostel that offered free yoga classes, she struck up a conversation with an instructor who happened to be a student at The Institute. Recognizing the name Lee Strasberg, she was thrilled to learn that his work still continued within The Institute. This chance encounter led Klara to visit LSTFI, where she learned of its scholarships and knew instantly it was the place for her.

Klara’s time at LSTFI proved transformative. “The training gave me the confidence to trust myself,” she explains. “There’s a line you cross in acting where you discover how you can really go for it.” Performing every day in class provided her with that invaluable gift and the constant presence of an audience. Despite inevitable nerves and self-doubt, Klara learned to trust in her ability to do the work — a lesson she still carries with her. Now continuing part-time at The Institute, Klara remains devoted to her craft, recognizing that growth as an artist is a lifelong journey.

Are We In Love Productions

At The Lee Strasberg Theatre & Film Institute, Klara met Hannah Doherty, founder of Are We In Love Productions and Klara’s future creative partner. “Wherever you go to school, you meet people like Hannah, people who push you, inspire you, and believe in the impossible,” Klara shares. Hannah brought an audacious energy to their partnership, the kind of determination necessary to overcome doubts and make things happen. “She’s the person who pushes you to go beyond your limits,” Klara says. Finding someone who embraced the logistical challenges of producing while sharing a love for problem-solving was a gift.

The heart of Are We In Love Productions lies in its mission to combat isolation and foster connection in an increasingly polarized world. “We live in a time where everyone feels the need to pick a side,” Klara explains. “But we believe in doing everything with love.” The company’s name reflects this ethos, inspired by Klara and Hannah’s infectious energy and their uncanny ability to turn everyday interactions into moments of genuine connection. “Hannah can talk to any stranger, and after a great conversation, she’ll laugh and ask, ‘Are we in love?’” Klara reveals.

Their debut play, Brilliant Traces, encapsulates this mission. Set in a remote Alaskan cabin during a blizzard, the story explores themes of isolation, vulnerability, and the universal desire for connection. “What I love about human nature is that we are never just one thing,” Klara reflects. “You can run away from life but still have the strong desire to connect.”

Looking ahead, Are We In Love Productions is preparing for future projects and has received significant interest from emerging creators. Klara is eager to foster opportunities for young artists, creating a platform for new voices in both theater and film.

Finding Joy in Creation

For Klara, the shift from experiencing art to creating it has been profoundly fulfilling. Inspired by works that celebrate connection and joy, she is reminded of the Book of Joy by Tenzin Gyatso, the 14th Dalai Lama, and Archbishop Desmond Tutu: “Become a reservoir of joy, an oasis of peace, a pool of serenity that can ripple out to all those around you.” This belief fuels her work, motivating her to craft stories that resonate deeply and bring people together. As Klara continues her journey, she carries with her the lessons and inspiration from her time at The Lee Strasberg Theatre & Film Institute. Her story is a celebration of resilience, the power of human connection, and the enduring ability of art to unite and uplift.

Written by Alina Rose Armstrong

Born in Iran to an Iranian mother and a Swiss father, actress Lara Wolf grew up in Zurich, Switzerland, immersed in two distinct cultures from an early age. This multicultural background fostered Lara’s understanding of global communities and greatly influenced her artistic aspirations. Fluent in both Farsi and Swiss German, Lara developed a deep appreciation for diverse perspectives and storytelling.

One of Lara’s earliest inspirations was her father’s nightly guitar playing. Despite working a traditional 9-to-5 job, he would come home each evening and play the guitar, immersing Lara in the world of music. Observing how music brought him — and, by extension, her — such joy and freedom motivated Lara to pursue jazz singing and violin lessons. As a shy and introverted child, she longed for that same sense of release and self-expression, something she only experienced during her school’s annual play. Her opportunities to further explore these passions were limited in Switzerland and Iran. Lara jokes that “productions in Switzerland would only be sought in Hollywood for roles related to banking.”

While studying psychology at the University of Zurich, Lara continued her voice and violin lessons, which became essential for maintaining her sense of balance and fulfillment in life. One day, her voice teacher, recognizing Lara’s clear passion for self-expression, sat her down and told her that a conventional path was not meant for her — that she was destined for greatness. Fueled by her teacher’s encouragement, Lara took a leap of faith and decided to pursue performance full-time, hoping to recapture the liberating feeling she once experienced and fully immerse herself in the world of acting.

Discovering Method Acting

Lara first discovered The Lee Strasberg Theatre & Film Institute Institute through an unexpected trend of Swiss beauty queens who, following their pageant triumphs, chose to pursue acting training at the prestigious New York school. Her research quickly confirmed that Method Acting was exactly what she wanted to study. At The Institute, Lara ventured into an entirely new world. She embraced the experience fully, “finding herself and her identity wholeheartedly through the process.” Interestingly, Lara found that her background in psychology, despite its academic nature, complemented the teachings of The Method remarkably well. Just as she had analyzed academic texts in school, she could now delve into script analysis, exploring characters and their motivations with a similar depth.

Under the guidance of esteemed teachers like Robert Ellermann and Lola Cohen, Lara learned to draw from her personal experiences to enrich her craft and was amazed by the transformative environment at LSTFI. She was captivated by the fluidity and openness of the Method Acting technique and equally fascinated by its profound physical and mental effects, which extended far beyond performance. Lara found that The Method’s relaxation techniques helped her release stress and trauma, allowing her to fully harness her instrument and imagination.

Landing Her First Agent and Role

At the end of the Two-Year Conservatory program, LSTFI offers a showcase which helped Lara secure her first agent. Lara recognized her luck of landing representation so quickly. Still, nothing could have prepared her for the excitement of booking the NBC pilot Believe on just her third audition. In the show, she portrays a young Iranian girl in flashbacks depicting a family torn apart by the struggles and conflicts of the Islamic Republic. The role allowed her to draw from her own life, demonstrating the powerful intersection of personal experience and the performing arts. Moreover, Lara portrayed the younger playing the younger version of Iranian actress Shohreh Aghdashloo, whom she had long admired, deepening her connection with her own culture and identity.

Lara continued to audition and seize every performance opportunity that came her way, soon realizing that landing roles was far more challenging than her initial fortune made it seem. Ultimately, her breakthrough came when she secured the role of a lifetime in Peacock’s highly anticipated series Those About to Die, led by Anthony Hopkins.

Those About to Die

In Those About to Die — a grand-scale gladiator drama set in the late first century — Lara takes on the role of Queen Berenice, a character steeped in historical significance. Created by Robert Rodat, the show delves into the bloodshed and treachery of the Roman era, capturing the collision of cultures and power struggles within the empire.

Landing her role in Those About To Die was anything but straightforward. Eight months before the show’s release, a friend alerted Lara’s agent about the opportunity. Despite initial indifference from the UK casting office and a lack of immediate response, an Italian casting director eventually called Lara to audition. The audition process was intense, involving three scenes and nine pages of dialogue, which Lara prepared overnight. She submitted her audition by midnight and, despite juggling another ongoing project, was shortlisted by the following morning. Remarkably, Lara learned that the show was filming in the city she was already working – Rome. Ultimately, the casting team selected her and the production schedule swiftly adjusted to accommodate her availability, reinforcing Lara’s belief that “if a role is meant for you, it will find its way to you.”

Embodying Queen Berenice

Lara prepared for her role meticulously. Queen Berenice is one of just four historical figures in the show, offering Lara a unique opportunity to learn about the character and connect with the material. Driven by her background in academia, she delved into extensive research about Queen Berenice, including consulting a historian for translations. Playing a queen proved to be an empowering challenge. The role allowed Lara to embrace a more commanding presence on screen and assert her range as an actress.

Throughout filming, Lara employed Method Acting techniques, integrating her personal memories and experiences into her performance. The production’s demanding schedule, with actors frequently rotating in and out, presented unique challenges. Lara learned to quickly adapt and stay grounded by using breathing techniques, prioritizing her health, and balancing a fitness routine to maintain her energy and focus.

Embracing the Future

As her career continues to evolve, Lara envisions a future where she not only acts but also writes, produces, and directs. She teases about some exciting upcoming projects that she’s not yet able to reveal, emphasizing her deep gratitude for every opportunity she receives. Despite her success, Lara’s focus remains on her appreciation for the chance to bring diverse stories to life, ever mindful of both the serendipity and hard work that have shaped her journey.

Written by Alina Rose Armstrong

Natalie Rebenkoff emerges as one of the most passionate and driven young actors. Just four months after graduating from New York University, she is set to star in an Off-Broadway production of The Nursery, an unpublished play by Clifford Odets. Her dedication to her craft and considerable achievements reveal Natalie as not only a gifted talent but also a hardworking and focused artist.

Early Inspirations and Influence

Born in Hermosa Beach, California, Natalie began her artistic journey in the world of dance, studying ballet and tap. Over time, her passion for dance evolved into an undeniable love for theatre. Growing up with a mother who was a costume designer and an uncle who was a musician, she has drawn inspiration from her family’s creative background throughout her life. To that end, Natalie emphasizes that her pursuit of theatre is largely due to the overwhelming support, acceptance, and love from her parents. She credits them with helping to shape her artistic identity and instilling her value of creativity.

In addition to participating in school productions, and even a regional theater production of Annie, Natalie began training with Lea Folden, who studied the Meisner technique under Bill Astor. Through Lea’s guidance, Natalie came to understand acting as a profound practice. She became enamored with the idea that the art she loved most could resonate deeply with people and impact audiences in meaningful ways.

Advancing Her Craft

Natalie applied to NYU to further her acting career, first training at the Experimental Theatre Wing before ultimately transferring to The Institute. During her time at ETW, she developed a deeper understanding of her body and the practice of self-connection, discovering her passion and talent for writing along the way. After two years, seeking to expand her craft and deepen her understanding of acting, Natalie chose to explore a different approach by studying The Method, looking to complement her training in Meisner and experimental theater.

Natalie found The Method to be entirely “eye-opening,” emphasizing her appreciation for the active, sensory-based approach. She discovered that incorporating her personal experiences into her work brought forth a level of vulnerability and depth she had never experienced before. She further felt that, for the first time at NYU, she encountered teachers who genuinely cared about her well-being beyond the classroom — who had her best interest at heart. Teachers like Tim Crouse and Robert Ellerman encouraged her to explore her passion for classic playwrights, allowing her to enrich her understanding of the craft and ultimately fall in love with the works of authors like Clifford Odets and Tennessee Williams.

In addition to her training at the studio, Natalie participated in two LSTFI productions — Jaclyn Backhaus’ You on the Moors Now and an original play, i’m sorry for your trouble, crafted specifically for her selective Practicum class. She also actively sought out open call auditions in the professional world, even landing a minor role in the film Don’t Look Up, featuring Leonardo DiCaprio and Meryl Streep.

Bringing The Nursery to Life

Producing and starring in The Nursery represents a pivotal milestone in Natalie’s artistic journey, showcasing her dedication and passion for bringing meaningful stories to life. After receiving the script from Robert Ellermann to perform in class, Natalie fell in love with The Nursery. As graduation approached and she worked extensively on the material in class, she began to consider what she more could accomplish with the play. Determined to bring this unpublished work to life, she reached out to the Clifford Odets estate, knowing the piece had never been performed before. Keeping her expectations low, she considered the request a long shot. However, after several conversations with Natalie about the material, the family recognized the genuine and talented person she is, ultimately granting her the rights to the play.

Set in the 1950s, The Nursery centers on an upper-middle-class couple, Phil and Ruth, who must confront the deep-seated issues in their troubled marriage. As repressed emotions from their grief-laden relationship surface during a crucial conversation, the strength of their love is put to the test. This never-before-seen original work by Odets delves into the intricacies of love, loss, and marriage, illuminating the bonds that form when we bravely share our pain.

Natalie emphasizes that the play “remains highly relevant for women today, as it poignantly addresses the complexities of relationships and the struggles women face within them.” In an era where discussions of emotional vulnerability, equality, and the dynamics of love are increasingly prominent, the play highlights the often-overlooked emotional labor that women undertake in their partnerships. She ultimately hopes that the play will serve as a powerful reminder of the importance of mutual understanding and support in a world that often encourages silence and compliance.

Natalie stars as Ruth alongside Cameron Monaghan, known for his roles as Ian on Shameless and the Joker on Gotham, who will portray Phil. The play is directed by LSTFI alumna and recent NYU Tisch graduate Stella Diji. In collaboration with Point 5 Collective and the Lee Strasberg Creative Center, the production premieres October 10-12 in the Sam Theater at The Flea.

Written by Alina Rose Armstrong

Distinguished by her remarkable versatility and talent, Isa Barrett stands out as an exceptionally accomplished rising senior. Balancing a role on Gossip Girl, an internship at Paramount, an off-Broadway production, and the launch of her own production company, Isa’s achievements are nothing short of impressive. Our conversation with her revealed how her upbringing in New York City — immersed in art, acceptance, and community — exposed her to diverse influences, instrumental to developing her inspired and motivated perspective.

A Foundation in the Arts: Early Influences 

Growing up in New York’s West Village, Isa attended LaGuardia High School while training at the Joffrey Ballet School. Both prestigious institutions, renowned for their rigor, provide intensive, conservatory-style curricula to prepare their students for successful careers in the arts. Through these schools, Isa became uniquely immersed in the arts. However, it was through her participation in CreateHER, a non-binary and female-focused Broadway intensive, that she began to truly grasp the broader world of theatre and its many possibilities. Influenced by a feminist perspective, CreateHER introduced Isa to producing, directing, and writing, expanding her view of the industry and inspiring her with the possibility of creative autonomy.

After starting at Occidental College, initially seeking a traditional education to deepen her understanding of culture and society, Isa enrolled in a summer program at LSTFI that transformed her perspective. That term, she took several on-camera acting classes with Tim Crouse, which she credits with helping her secure her first on-screen role on Gossip Girl. She immediately felt the support and vibrant energy at LSTFI and knew she wanted to return to pursue her studies full-time. She discovered that NYU’s BFA partnership at LSTFI provided the ideal environment to merge the knowledge from her academic classes with the insights and techniques offered at the studio.

From the Studio to the Stage

While training intensively at the studio from 9 to 6, Isa simultaneously booked an off-Broadway show at St. Ann’s Warehouse — NY Times Critic’s Pick, The Patient Gloria — and managed evening performances in Brooklyn for a month and a half. Despite her busy schedule, studying at LSTFI kept her grounded. She emphasizes how relaxation exercises, sensory work, and breathing techniques became essential for managing her workload. Her commitment to these practices was so strong that she made it a priority to never miss a class, remaining steadfast in her dedication to the Strasberg curriculum.

Isa’s involvement in performance didn’t stop at St. Ann’s Warehouse; she participated in LSTFI’s 2023 StrasbergWORKS production, interned at Paramount, produced several short films and, most importantly, launched her own production company, Cherubs Productions. Isa founded with company with best friends Lily Kaplan and Aliza Gandhi, whom she has been collaborating with since the trio met at a film camp at age 16.

Despite her impressive individual achievements, Isa believes that the foundation of her production company has been her most fulfilling endeavor. She describes her collaboration with other artists to be the most rewarding and impactful aspect of her career, reflecting her genuine humility and appreciation for collective success over personal recognition. The company’s mission – creating “theater and film for young people, by young people” – reflects her dedication to empowering her peers through the arts. To that end, Isa emphasizes that, while art inherently reflects personal experiences, its true purpose is to impact others, drive change, and foster a sense of community. Reflecting on her own journey, she remarks, “My life has changed so drastically since I got away from myself and began to focus on the whole of all the incredibly talented people around me.”

Daughters of the Ruling Class

Evidently, Isa’s vision and dedication have paid off. Cherubs Productions has triumphantly launched its debut theatrical production, Daughters of the Ruling Class. Directed by fellow NYU student Aidan La Poche, this play explores the lives of friends intricately entangled in an elite society. Their world begins to unravel in the face of an impending global catastrophe, all on the eve of a prestigious ball. With its examination of power, privilege, relationships, and femininity within a world of status and elitism, the play promises a gripping narrative, brought to life by a stellar cast including Brennan Keeley, Lucinda Dunham, Kalissa Persaud, Mads Daily, Olivia Vitarelli, Renée-Nicole Powell, and Vivian Hunt.

NYU student Pearl Marden has teamed up with NYC-based independent designers Amanda Tabet, Fiona Frohnapfel, and Zepherina to create costumes for the play’s five chapters, offering a distinctive approach to interpreting the characters, their world, and the events of each act. Ultimately, the production is a culmination of work from numerous young artists, from NYU and across the city, coming together to create art that resonates with and entertains young audiences.

The production will be held at The 303, a theater located in the cutting-edge nightlife venue The Stranger NYC. Daughters of the Ruling Class will run from September 17 through September 19. Following the final performance, guests are invited to an exclusive after-party in the nightclub space, meticulously designed by Crosby Studios founder Harry Nuriev.

For more information and to purchase tickets, visit The Stranger NYC’s website.

Written by Alina Rose Armstrong

“Reflecting on my journey, I grapple daily with the pressure to conform to society’s expectations versus embracing my own freedom and desires, a struggle deepened by my transformative experiences in New York.”

– Saltanat Nauruz

Saltanat Nauruz has emerged as a formidable presence in the world of acting. Boldly moving from her childhood in Kazakhstan to attend the renowned Lee Strasberg Theatre & Film Institute in New York City, her journey reflects her resilience and determination in overcoming the challenges inherent to the acting profession.

Early Life

Saltanat Nauruz was born and raised in Almaty, the largest city in Kazakhstan. From a young age, Saltanat stood out from her family’s academic focus on mathematics and sciences. With an older sister excelling as an economist, a younger brother pursuing physics, and a father devoted to a lifetime of mathematical study, she often felt out of place. She found herself drawn to the vibrant cultural influences of the 1990s, spending hours studying the moves of pop icons like Britney Spears, the Backstreet Boys, Destiny’s Child, and Jennifer Lopez in front of the TV.

Despite her family’s unfamiliarity with the arts, Saltanat’s passion for dance was fully realized when the Moscow Dance Studio arrived in Kazakhstan, introducing her to local dance luminaries and a new world of creative expression. This early exposure fueled her dedication and shaped her work ethic in the studio’s disciplined environment. Initially adhering to her family’s expectations by pursuing an undergraduate degree in journalism, Saltanat soon realized her true aspirations lay elsewhere.

Acting Career

After earning her undergraduate degree, Saltanat felt an irresistible pull towards acting. Inspired by her dance background, she initially considered pursuing drama in Moscow. However, a close friend’s account of Marilyn Monroe’s transformative experience working with Lee Strasberg shifted her focus. In 2010, Saltanat enrolled in a Two-Year Conservatory at LSTFI New York, immersing herself in intensive training that deepened her understanding of the craft. Lee Strasberg’s approach to memory recall and emotional authenticity — known throughout the world as The Method — profoundly shaped her approach to acting, equipping her with the tools to convey depth and nuance in her performances.

Following her training, Saltanat actively pursued roles in theatre, landing engagements with companies and theatres such as the BAT and The Flea. She thrived in the experimental and multicultural environment of The Flea Theater, where she eagerly embraced new challenges that broadened her artistic horizons.

During this period, Saltanat crossed paths with Assel Aushakimova, a Kazakhstani director, screenwriter, and producer, who became a pivotal figure in her life. Assel cast Saltanat as the lead in her debut feature film, Welcome to the USA, a film about a Kazakh lesbian woman who wins the green card lottery. Saltanat praised Assel’s all-encompassing role in the production — from directing and producing to catering and serving as the second AD — highlighting the synergistic collaboration that led to her compelling performance.

Bikechess

Saltanat and Assel’s partnership continued with Bikechess, Assel’s second feature film. The project initially faced funding delays, plunging Saltanat into what she described as one of the most challenging periods of her life. Despite setbacks, Saltanat persevered through the uncertainties familiar to actors, all while balancing the responsibilities of motherhood. When Assel at last secured funding for the film, Saltanat decided Bikechess would be her final endeavor to launch her acting career.

Bikechess is a dark comedy that explores the disillusionment of Dina, a Kazakhstani field reporter trapped in a cycle of government-mandated propaganda. The film critiques superficiality and moral compromises in the media, following Dina’s struggle to reconcile her professional obligations with her personal integrity. It also delves into her clandestine affair with a married cameraman, portrayed through subtle, charged interactions. Despite the absurd and satirical world of the film, Bikechess utilizes naturalism and a stylized sense of detachment to reflect its critique of societal stagnation and the reluctance to challenge norms in contemporary Kazakhstan.

Saltanat’s decision to make Bikechess proved fortuitous. The film went on to win Best International Narrative at the Tribeca Film Festival this year, and Saltanat received rave reviews for her moving and compelling performance.

“Nauruz delivers a sharp and acerbic performance that complements the writer/director’s quick-witted and novel approach.”

– Nora Bernard, Global Media Makers

The festival screening was Saltanat’s first viewing of the film, a deeply moving moment for her. Watching the film was a poignant moment of validation, underscoring her journey from Almaty to the global stage. Amid their festival triumph and acclaim, Saltanat reflected on her performance and the filming experience. She expressed her hope that viewers are inspired to resist societal conformity, a theme resonant not only with those in Kazakhstan but with anyone feeling trapped in their circumstances.

Looking Forward

While she remains passionate about acting, Saltanat aims to transition into producing, seeking greater influence over her roles and a more hand-on approach to her art. Her ultimate ambition is to translate universal conflicts onto the screen, empowering audiences to confront their own everyday dilemmas.

Saltanat Nauruz’s journey not only celebrates her resilience and artistic evolution but also underscores the impact of Lee Strasberg’s teachings on shaping her into a versatile and accomplished actor.

Written by Meagan Sisler

For LSTFI alumna Luísa Galatti, becoming an actor was less of a conscious decision than it was an innate calling. “I always joke that I never chose to be an actor – I was an actor,” she shares in an interview with The Institute. Luísa traces her love for the stage back to her childhood, when she first discovered the magic of theatre. From acting classes to school productions, Luísa constantly sought out the next opportunity, her love for acting only growing with each performance. Eventually, her passion for the arts led Luísa from her home in Brazil to The Lee Strasberg Theatre & Film Institute in New York City.

Discovering the Method

Luísa first discovered LSTFI through Estrela Straus, a fellow alumna teaching Method Acting in Brazil. When the opportunity to move to New York finally came along, she already had The Institute in her sights. Luísa found the training at LSTFI to be transformative, connecting deeply with Lee Strasberg’s work. “I’ll never forget the first time I worked on a sensory exercise guided by Robert Ellermann,” she recalls. “I was immediately taken back to my childhood home, and the experience was so vivid that it changed my approach to acting. I could feel the grass, and the sun, hear the birds, smell nature, and see every detail of my home.”

In addition to Robert Ellermann and other esteemed faculty at The Institute, Luísa studied with acclaimed Method Actor and guest instructor Vincent D’Onofrio. In a selective, invitation-only masterclass with D’Onofrio, Luísa learned a valuable lesson: it is not your job to judge your own acting. “Your job is to prepare, do the work, show up, and do your best, but never to decide how good it was,” she explains. She describes how this small yet crucial piece of advice gave her the strength and freedom to embrace vulnerability in her work and perform fully in the present moment without judgment.

As Lee Strasberg’s work is rooted in an exploration of both the character and the self, the ability to embrace vulnerability is a truly valuable skill. Luísa shares, “Training at the studio is about investigating your own self and discovering parts of you that have never been visited before. You leave with a deeper self-awareness and the ability to use it all in your acting.”

Leading Et Alia Theater

Luísa has made an impressive leap from student at LSTFI to successful actor and producer in the professional world. Among her many artistic pursuits, Luísa currently serves as Co-Artistic Director of Et Alia Theater alongside Maria Müller and fellow LSTFI alumni Ana Moioli and Giorgia Valenti. Founded and run by international women, Et Alia champions multicultural, women-centered storytelling in the performing arts. “Our style varies from movement pieces to realistic plays, but our primary goal is to give a voice to those who are often unheard,” Luísa explains. Et Alia produces a curated season of mainstage theatre productions, in addition to a development lab for creators to hone and incubate their work-in-progress projects. True to its mission, Et Alia has collaborated with artists from nearly 40 countries around the globe and furthers its values through a teaching and community outreach department.

Most recently, Et Alia Theater produced a three-week run of Federica Borlenghi’s Until Dark, a riveting new play that reflects on consent, abuse, and the intricacies of sisterhood. Staged at Out of the Box Theatrics in February, the play follows three sisters – Cass, Jackie, and Lisa – as their traumas, past and present, unfold. When Cass is accused of a heinous crime, Jackie, a promising criminal defense attorney, doesn’t hesitate to take her case. But when Lisa arrives unannounced to offer her support, she discovers there’s more to the allegations than what she’s been told.

Luísa starred in the production as Lisa, the spirited and naively optimistic youngest sister. On tackling the role, she admits, “Federica’s writing was so rich that it almost made my job easier.” With its dark themes, intensely complex characters, and emotional dialogue, the play presents a genuine challenge – and a gratifying opportunity – for the actor. “It is immensely satisfying to work on well-written texts and deeply developed characters,” Luísa shares. “I was trained to find those, get excited about them, and dissect them.”

Luísa details how her training at The Institute helped develop and inform her performance as Lisa. “[At LSTFI,] I learned how to walk hand-in-hand with my character, bringing the process close to me and understanding what parts of me belonged there. This leads to the most human and complex performances, the ones that resonate with people,” she reveals. Until Dark, and Luísa’s captivating performance, was met with critical acclaim and recognition. In just one of the production’s rave reviews, Jim Catapano wrote for Showtones, “The three actors are astonishing – over the course of 75 minutes one grows to fully believe they have had decades together of happiness and heartbreak, joy and sadness, connection and conflict.”

Evolving From Stage to Screen

In addition to her work with Et Alia, Luísa recently worked on the producing team of Emursive Productions’ latest theatre piece, Life and Trust. Focused on immersive and multimedia experiences, Emursive is the innovative company behind the award-winning, Off-Broadway sensation Sleep No More.

While her experience with immersive, devised, and theatrical work is extensive, Luísa also lends her talents to the screen. Her short film ’Til Morning was a film festival hit, earning Luísa multiple Best Actress award nominations and praise for her roles as writer and producer. Her latest short, Who Were You in New York directed by Stella Rea, is a poetic take on a young woman grieving her mother. The film premiered at the Brooklyn Film Festival in June and will continue in the festival circuit this year.

Reflecting on LSTFI

After graduating from the Two-Year Conservatory, Luísa left LSTFI with confidence in her craft and technique. “Thanks to the Method, I have clear systems to approach my process,” she shares. “It’s like having a box of tools. Sometimes I need to dig deeper to find what I need, and other times I can quickly select the right tool to build what I want.” She also left with a growing network of collaborators within The Institute’s students, alumni, and faculty. “Teachers and staff members of the school have always supported my projects, no matter how crazy they were,” she remarks. Today, Luísa works alongside fellow alumni across projects as she forges her path in the professional industry. Whether it be on stage or screen – or an immersive, multimedia experience – we eagerly await the next chapter in Luísa’s career.