I love incorporating some sort of movement, and gesture work into the pieces I direct. I can sometimes be a little bit maximalist, rather than minimalist, and I love looking for new unexpected angles to transform how the audience perceives the texture of the space.

I've always been afraid of directing and hid a lot in my playwriting where I feel I can make decisions within my own controlled space. But after going through several directing programmes, including the recent development programme for theatre directors—Tunjuk Arah Iyakkunar—under the guidance and mentorship of Edith Podesta, it made me discover the joy in meaning-making and composition outside the pages of the script.

I liked Pitch Witch, which was a lovechild of playwriting and directing with fellow Main Tulis Group members Nabilah Said and Raimi Safari. It was a site-specific piece involving three witches pitching a strategy to increase national pride amongst Singaporeans, and it was just a whole lot of fun. Plus, we used a real-life head of a pig.

Yes, I am a playwright with Main Tulis Group. I am also part of a second theatre-making collective called Rupa co.lab, where our roles shift from playwright to director to producer to tech crew to surtitlist to the-runner-who-goes-to-buy-food-for-production-on-foot-to-save-money.

A strong sense of self. Everyone's politics and the way they see the world is different, and that's what's brilliant. Trust your gut and follow through! What will be, will be.

That it's unnecessary to do your homework before coming to rehearsals. And that your actors are just there to do what you want, instead of being valuable collaborators to creating fiction.

“More pink, campy and absurd. With a mix of rock kapak (old Malay rock music).”