Q&A with Ryan Ang: Revisiting a Landmark of Singaporean Theatre

In the ever-shifting terrain of Singaporean theatre, Dreamplay: Asian Boys Vol. 1 stood as a bold and timely revival—a courageous reimagining of a seminal work that once dared to name the unspoken. First staged in 2000, Alfian Sa’at’s Asian Boys Vol. 1 was one of the country’s earliest plays to confront the realities of gay life in Singapore—a tapestry of coded language, longing, and resistance, staged when silence was still the social norm.

Now, 25 years later, that tapestry returned to the stage, rethreaded through a dreamlike lens. Directed by Ivan Heng, Artistic Director of WILD RICE, Dreamplay merged Alfian’s intimate monologues and dialogues with the surreal architecture of August Strindberg’s A Dream Play. The result was a hallucinatory journey through memory, fantasy, and resilience—anchored by a central figure known simply as “Boy.”

At the heart of the production was actor and theatre-maker Ryan Ang, who stepped into the role of Boy. Traversing the character’s emotional life from a tender 17-year-old to a man of 60, Ryan’s performance resonated deeply with audiences—an embodiment not only of personal transformation, but of cultural continuity.

The FLUX team caught up with Ryan Ang for a post-show email interview, reflecting on his thoughts, insights, and takeaways now that the production has concluded.

What drew you to DREAMPLAY: ASIAN BOYS VOL. 1, and how did you come to be involved in this project?

To me, Asian Boys Vol. 1 is a seminal work in Singaporean theatre. Although I had not seen its previous stagings, I was drawn to it by a desire to explore how this important piece of queer history has withstood the test of time—and to examine what has or hasn’t changed over the past 25 years. I was invited to audition for the role of Boy by our director, Ivan Heng.

How would you describe the themes and messages of the play in your own words?

For me, the central theme and message are about self-love and hope. I believe that within each of us, there is a goddess—and while the journey may be filled with uncertainty, pain, and fear, if we keep trying and remain hopeful, we can and should strive to reach the end of the rainbow.

How does this revival differ from previous stagings of Asian Boys Vol. 1, if at all?

As I didn’t catch the earlier stagings, I can only go by what I’ve learned from our creative team and audience members who experienced both versions. Some references were updated to reflect contemporary times—for instance, the IRC chatroom scene was replaced with Grindr. However, I believe great care was taken to preserve the rawness and grit that were so integral to the original work.

What was the rehearsal process like for this production? Any memorable moments?

This rehearsal process was full of laughs—truly overflowing with joy. It was such a pleasure working with this team and cast; there was so much generosity and collaboration in the room. I remember the first time we worked on the “coolies” scene—everyone was in stitches. Another memorable moment was when we were trying to figure out sex positions involving multiple bodies. I recall the entire room staring intently at the tableau, trying to make it even more ranchy. It was such a special, unforgettable experience.

Could you tell us more about the character you’re portraying, and how you relate to them personally?

I play the character of Boy, who begins the play at age 17 and ages throughout the story until he is 60. Boy is like a sponge—constantly observing the (dream) world around him, allowing it to challenge and shape his ideas and beliefs. He is always searching, always trying to make sense of things and find happiness. He also acts as Agnes’ guide to the “gay life,” helping her understand and empathize with the lived experiences of gay men in Singapore.

At times, I feel very close to this character. As gay men, many of us share that journey of trying to understand our sexuality and what it means to be different from the norm. What I find most inspiring about Boy is his perseverance—despite all the ordeals and adversities, he continues to try, again and again. That perseverance is something I deeply admire.

What were some of the biggest challenges you faced in bringing your role to life?

One of the biggest challenges was maintaining Boy’s innocence while setting aside my own cynicism as Ryan.

Initially, I struggled with the dream logic—trying to make sense of how this dream world operates and what Boy’s throughline was. But as my director Ivan said, “It’s a dream!” and that gave me permission to let go and embrace the fluidity.

Another challenge was tracking what Boy knows or doesn’t know at different points in the play—what he has experienced firsthand versus what he might have only read or heard about. That required constant adjustment and sensitivity.

How do you prepare emotionally and physically for such an intense and layered piece?

My usual routine is to start with a Fitzmaurice voice warm up to ground my voice, followed by some vocal exercises. Then i take some time to meditate and alone time with some music to get in to character. I also fiddle around with my magic dildo staff while doing so. Haha!

What conversations do you hope this play sparks among audiences in Singapore?

My hope is that even non-queer audiences will connect with the universal themes of hope and self-love that run through the play. For queer audiences—especially younger ones—I hope they see it as a time capsule of queer history in Singapore. I also hope the play encourages all audiences to reflect on what has changed since its original conception, and what still remains the same.

How do you see DREAMPLAY: ASIAN BOYS VOL. 1 contributing to Singapore’s theatre and queer narratives today?

Asian Boys Vol. 1 remains a significant contribution even today, providing much-needed visibility and representation for queer voices. Premiering at a time when there were few, if any, openly gay plays in Singapore, it now stands as a beacon of hope—one that can inspire younger queer creatives to write, create, and produce more of their own stories.

Do you think there’s been a shift in how local audiences engage with queer-themed productions now, compared to a decade ago?

I think with the globalization of mainstream media, the advent of Netflix and the increase of representation in the media, local audiences have been exposed to more queer stories in tv and film. Perhaps the shift is that I feel that now we can begin to examine more other kinds of queer voices and other colors of the rainbow. I feel like that is what younger audiences may resonate with compared to a decade ago. 

Has working on this production changed or deepened your perspectives on identity, sexuality, or society?

Working on this production has affirmed some beliefs that certain power structures will be difficult to break out of, and that the fight for queer voices to be seen and heard and have a seat at the table, is far from over. It has helped me re-examine how much i truly love myself and has made me revisit my own past as well. Things are never as black and white as we may think they are and the gay man's experience is one that is complex and nuanced just like this show. sometimes confusing as well. 

Are there elements in the play that resonate with your own journey as an artist or individual?

Having devised my own piece Never The Bride that was staged by The Necessary Stage (alongside collaborators Fadhil Daud and Rajkumar Thiagaras) about gay marriage in Singapore, it has been very healing to revisit themes relevant to gay men and examine the differences between the two. These themes will always be close to my heart and i look forward to my next opportunity to be involved in a queer project. 

What’s one takeaway you’d like audiences to leave with after watching the show?

There is hope for us all!

Are there any dream roles or stories you hope to be part of in the future?

Not one particular one comes to mind but i would like to continue making meaningful work and be intentional with where i place my energies. 

What’s next for you after DREAMPLAY?

I will be choreographing for Freddo Children's Theatre for their musical based off of popular childrens book "Beautiful Oops!" (Tickets are on sale!) and then the rest of the year will be Mandarin theatre for me, working with Nine Years Theatre and Toy Factory Productions to wrap up the year ;)