Lin Songtao 254238712@qq.com AFTER years of performing, teaching, and training across the globe, British drama teacher Nicola Howard’s passion for music and theater has fully bloomed in Shenzhen. Whether directing student musicals or singing at charity events, she’s found the city’s energy and openness to be the perfect backdrop for her next act — one that blends art, education, and a lifelong love of the stage. Deep music connection Howard’s connection to music began early. Her mother took her to church from the age of 3, and by 7, she had joined the choir. At school, she immersed herself in musical theater and later joined a local amateur group. She went on to study drama at university, where she acted in several theater productions. At the time, musical theater wasn’t taken seriously in her academic environment. “People saw it more as entertainment than real art,” she recalled. That perception led her to step away from the genre for many years. Her passion for music returned gradually, rekindled by a personal loss. After her mother — who had enjoyed singing but never pursued it seriously — passed away, Howard decided to take the leap her mother hadn’t. She began voice lessons and performance training, eventually traveling to Brazil, France, Denmark, Spain, and the U.S. to attend theater workshops and even enter a singing competition. Later, she worked on theater productions during a stint in Africa. In the U.K., Howard ran community arts projects funded by the national lottery, organizing small theater events that often involved children. She shifted to full-time teaching in her mid-30s, a transition that brought her back to musicals. “It was so much fun,” she said. “Young people bring such energy to the stage.” Hobby turns into career Howard’s journey in China began in 2014, with teaching posts in Shanghai and Guangzhou. But it wasn’t until 2022, after years of moving between cities, that she decided to put down roots in Shenzhen — a place she describes as modern, green, and thoughtfully designed. Having visited the city several times before relocating, Howard was drawn not only to its balance of urban order and natural beauty but also its cultural pockets — the creative spirit of OCT-LOFT and the relaxed, community feel of Shekou. Howard joined the Shenzhen College of International Education, where she was impressed by the school’s dedicated theater facilities, including a well-equipped stage, drama studios, and costume resources. There, she began directing student musicals and noticed a strong enthusiasm for Western theater among her students. To Howard, theater education goes beyond rehearsals and classroom exercises. She’s found that many students expect drama to function like academic subjects. But real growth, she believes, comes from intrinsic motivation — the willingness to participate, create, and perform outside of structured class time. Cultural nuances have surfaced in her teaching as well. In one instance, a student hesitated to use facial expressions during a performance, explaining that it felt insincere to be overly emotive. Howard saw this not as resistance but as a reflection of deeper cultural attitudes and a chance to open a dialogue about theatrical expression and audience connection. Extending arts path In addition to her work in musical theater, Howard also performs light classical pieces, folk songs, and art songs — often in support of local charities. Since settling in Shenzhen, she has sung at a wide range of venues, from churches to concert halls and hotels in Shenzhen and Hong Kong. Shortly after arriving in the city, Howard attended a concert that would lead to a new musical partnership. She was struck by the skill of a piano accompanist trained in the U.K., and the two later collaborated on performances, donating their proceeds to charity. That connection opened doors to more performance opportunities and introduced her to a wider network of musicians across the region. Still, finding the right space to perform remains a challenge. Howard’s preferred style — theater or cabaret-style singing — doesn’t always suit commercial venues where audiences may expect background entertainment rather than focused performance. She’s found that smaller, more intimate venues better match the kind of artistic experience she wants to share, but they’re not always easy to come by, especially due to high rental costs. Despite the logistical hurdles, the emotional rewards have been profound. After a recent recital in Hong Kong, a woman from the audience approached her and said the performance had made her day. “But by coming to speak to me,” Howard reflected, “she had made mine.” Her latest project in planning, “From Shenzhen with Love,” will bring together her students for a collaborative performance staged in the kind of cozy, informal venue she prefers — where community and creativity take center stage. | 