From Studio to Stage: NAFA Talent in Practice with Goh Boon Teck

Actor and NAFA student Zhuang Chu Hang takes on the lead role in Master White Dragon, directed by NAFA alumnus and Cultural Medallion recipient Goh Boon Teck. The production brings together established theatre practitioners and emerging NAFA-trained talents in a professional stage setting.


By the NAFA Marketing & Communications Office


Key Takeaways

• Director Goh Boon Teck continues to bring emerging and seasoned performers together as part of his long-standing theatre practice.
• Master White Dragon offers NAFA-trained actors a chance to step from classroom training into a professional production environment.
• Lead actor Zhuang Chu Hang reflects on the demands, discipline, and responsibility that come with professional theatre work.
• The collaboration between NAFA and Toy Factory Productions reflects a broader pathway from training to industry for emerging theatre practitioners.

Theatre is a living inheritance, shaped as much in rehearsal rooms as on stage, where ways of working, thinking, and seeing are passed from one generation to the next. In these spaces, the distinction between mentor and protégé often blurs as younger performers learn alongside more experienced practitioners.

That spirit of continuity runs through Master White Dragon, a Chinese theatre production where director Goh Boon Teck works alongside a new generation of performers stepping into the professional stage.

For Boon Teck – Cultural Medallion recipient, NAFA alumnus, and founder of Toy Factory Productions – this transition has long been embedded in his practice. Across his productions, emerging actors and seasoned performers share the same rehearsal rooms and stages, allowing younger talent to learn within a professional setting.

“This approach is not a new experiment for me; it is a core belief that has guided my practice for decades,” says the 1991 Diploma in Fine Art graduate.

“Most of my productions intentionally gather a blend of seasoned veterans and fresh voices because I believe the most profound growth happens through cross-generational learning,” he explains.




Director and NAFA alumnus Goh Boon Teck sees professional productions as spaces where younger performers learn through shared practice.


Learning across generations
He continues this practice in Master White Dragon, where experienced practitioners work alongside NAFA-trained actors, including Diploma in Theatre (Mandarin Drama) student Zhuang Chu Hang, who takes on the lead role.

Beyond producing a strong performance, Boon Teck sees a wider responsibility in this process.

“I view the stewardship of theatre succession as my professional duty,” he says.

“My role is to guide the emerging talents in overcoming their technical or emotional hurdles, while ensuring the seasoned performers are equally inspired by the raw energy of the newcomers.”

In the rehearsal room, that guidance begins with trust.

For Boon Teck, the starting point is creating a “safe space” where actors feel empowered to explore and find the courage to be vulnerable in their roles.

“While I am eager to share the wealth of my experiences, I am careful not to over-direct,” he shares.

“I see a gem in every rock, and my job is to provide the light and the tools for them to polish themselves. I provide the structural boundaries of the performance, but I leave the emotional ‘inner life’ of the character for them to discover.

“True artistry cannot be handed over; it must be claimed through their own intuition and discovery.”

Stepping into professional practice
For younger actors, the transition into professional work is felt first in the pace and expectations of the industry. While training provides a strong technical foundation, the shift into a public-facing production introduces a sharper level of accountability.

As Boon Teck explains it, going from the safety of a classroom to the pressure of a professional stage can be unsettling.

“To bridge this, I focus on building a robust support system. Theatre is, at its heart, an ecosystem of trust,” he says.

“By managing our time effectively and providing ample, structured rehearsal periods, we create a stable environment that allows their fear to dissolve into creativity. When an actor feels supported by the management and the ensemble, they are free to take the risks necessary for a great performance.”

For Chu Hang, the shift was immediate.

“You are expected to give 100 per cent and more every day,” he says.

“There are no grades – only the standard you set for yourself and the responsibility to keep improving consistently.”




NAFA student Zhuang Chu Hang takes on the lead role in Master White Dragon, stepping from training into professional theatre practice.


The weight of a lead role
Stepping into a lead role also brought a new level of responsibility. Having previously worked with Chu Hang in Voyage Ksitigarbha, where he played a supporting role, Boon Teck was already familiar with his approach as an actor.

“He possesses a rare sensitivity as an artist and a disarming stage charisma that commands attention,” Boon Teck says.

“To support him in this lead role, I focused on channelling that natural magnetism while providing the dramaturgical depth he needed to carry the weight of the story.

“It is a partnership of trust; he brings the fire, and I help direct the flame.”

While Chu Hang admits he felt some pressure stepping into such an important role, he focused instead on committing fully to the work.

“I reminded myself that regardless of whether I am playing a lead or part of the ensemble, the commitment should be the same – I have to give my full effort. Whether the role is big or small, it shouldn’t make a difference to me.

“Theatre is never a one-person show; it takes the entire team to bring everything together. I’m grateful to be working with such a trustworthy and talented group, which allows me to focus on doing my part to the best of my ability.”

From training to industry
The collaboration between NAFA and Toy Factory Productions on Master White Dragon reflects a longer relationship between training and professional practice, where students move beyond studio-based learning into professional productions.

Alongside Chu Hang, other NAFA-trained talents, including ensemble performer Lin Jing, are also part of the production. Both Chu Hang and Lin Jing are from NAFA’s Talent Development Programme and are scholarship recipients, reflecting the University’s continued investment in developing emerging theatre practitioners.

For Boon Teck, these collaborations are not simply about staging a production, but about sustaining the continuity of theatre practice across generations.

“It represents a beautiful, lived-arts ecosystem. There is a profound sense of continuity when alumni return to mentor the current cohort,” he says.

“This cycle of giving back ensures that the DNA of our local theatre practice is preserved while being constantly refreshed by new perspectives.

“These collaborations do more than just put on a show; they strengthen the very fabric of the Singapore theatre scene, ensuring it remains vibrant, connected, and resilient for years to come.”

For Chu Hang, the production marks an early step in a much longer journey.

“I am still exploring what kind of actor I want to become and the kinds of work I hope to pursue. It’s an ongoing journey that will take time.

“Master White Dragon is one of the important steps along the way, and it is a meaningful starting point for me as I continue to grow and discover my path.”


Directed by Goh Boon Teck, Master White Dragon is an original Mandarin production presented as part of Cultural Extravaganza 2026. The production brings together experienced theatre practitioners and emerging NAFA-trained talents, including lead actor Zhuang Chu Hang alongside other students from NAFA’s School of Theatre.

Master White Dragon runs from 9 to 17 May 2026 at the Singapore Chinese Cultural Centre Auditorium. More information and ticketing details are available via SISTIC.