Cheryl Ho is an award-winning actor, writer and facilitator focused on care, creativity, and inclusion. Her semi-autobiographical works often derive from experiences of hilarity, introspection and self.

Cheryl is currently an Artist-in-Residence for the Resonates With Residency with National Gallery Singapore, a programme that invites local performing artists to respond to works and themes from the Gallery’s long term and special exhibitions.

What are the kind of performances that you enjoy creating?

My work so far has been semi-autobiographical, because it’s fun for me. It’s a way for me to personally unpack questions about my life and the world—I find a lot of joy writing from that place. As my practice continues to grow, I think it’s slowly starting to become about creating spaces where people can feel seen or represented. 

Do other aspects of your artistry inform your writing?

I definitely create from a very intuitive standpoint, which is very much informed by my practice as an actor. I usually say that I’m an actor first. Of course, the process goes through a lot of refining and structuring later on, but I definitely enter projects from an actor’s perspective.

What themes do you find yourself exploring in your work?

I would say my plays tend to be a little dystopian, very kooky and ridiculous. Recently, during one of my residencies, I wrote The Death Of Chikun. It’s about a girl who deals with the death of a neighbourhood chicken, following her meandering thoughts after this incident. I think it encapsulates a few key aspects about my practice; it being entertainment for myself and trying to explore the questions I have about life.

I suppose it’s a two way-thing—there is an almost dystopian feel, but it’s also earnest and comes from a hard-hitting place. At the same time, there’s ridiculous humour, which I feel makes for a really nice mix.

Was there anything in particular that pushed you to try creating your own work?

Truthfully, when I was growing up, I didn’t think I was that great a writer. I’m a very rambly person by nature—and I don’t mean it in a bad way. However when I was applying for universities after junior college, I was quite drawn to The Victorian College of the Arts in Melbourne because they offered acting and theatre-making.

I kind of fell in love with the process of creating my own work and even collaborated with my flatmate, which helped me find my groove as a theatre-maker. Having the room for collaboration outside of school really expedited the process a bit more, especially since I didn’t have to consider grading or a rubric when you work independently.

What kind of advice would you give to new playwrights getting a start in their craft?

Hustling is a big part when you begin. When I started out, I chased after every opportunity I could get my hands on, neglecting my body and well-being for a while. The simplest advice I can offer is to understand trade-offs, because it empowers you to make choices with autonomy over your practice. I don't think there should be an expectation for everyone to hustle, but definitely hold on to the power of making your own choices, especially when you begin.

As a newbie, you might think you have little power over how you’re treated, but I want new artists to know that you are still a person, and you have many many years to refine and get better at your craft.

I AM SEAWEED by Cheryl Ho and Rachel Lee is playing at the M1 Singapore Fringe Festival at NAFA Studio Theatre from 16-18 Jan 2025.