Cover Kuah Jen Han brings his personal stories of family, grief and growing up to the stage in Like This, Like Dad: The Storytelling Special
Kuah Jen Han brings his personal stories of family, grief and growing up to the stage in Like This, Like Dad: The Storytelling Special
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Malaysian comedian, Kuah Jen Han, talks about his most personal storytelling special yet, the evolution of his craft and why even the hardest experiences can become material for a good laugh
For nearly two decades, Malaysian comedian Kuah Jen Han has built a career around finding humour in the things most people might overlook. From his early days with the Malaysian Association of Chinese Comedians (MACC) to developing his own theatrical, narrative-driven productions, his work has evolved considerably beyond the traditional stand-up format.
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His latest show, Like This, Like Dad: The Storytelling Special is his most personal yet. First written in 2013 and rewritten twice over the following 13 years, the storytelling special revisits his relationship with his late father, weaving together grief, family and cultural observations with the humour that has become central to his work. Having also taken his performances to audiences in Singapore, Australia, Hong Kong and London, Kuah has found that while the experiences at the heart of the show are universal, the Malaysian perspective behind them offers something less familiar to audiences abroad.
Here, he talks about turning grief into comedy, growing as a writer and performer, and why putting on a great comedy show involves far more than simply stepping up to a microphone.
Your latest show, Like This, Like Dad, is your most personal work yet. Was there a moment when you realised this was a story you needed to tell?
I think even from the start, I always kind of look within myself. I observe things and write funny jokes about them. I'm not very good at creating something out of nothing and making it funny, so I always have to use something that has happened, something I've experienced, and find the funny in it.
When I first wrote this show in 2013, I guess I was processing those thoughts. But over 13 years, I've rewritten it. This is the third version, and it is very different from the first, although what happens is the same.
As a writer, I can see how young or amateur the writing was when I started. It was just reporting. It was very chronological. Now, I think the writing has a lot more flair and, structurally, it is much more fun. So I guess there is growth as well.
Above The comedian draws on his own experiences to find humour in grief, family and everyday life
The comedian draws on his own experiences to find humour in grief, family and everyday life
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The show explores family, grief and fatherhood while still making audiences laugh. How did you find the balance between humour and vulnerability?
A comedy show has an unmistakable objective: to entertain, to make people laugh. That is always a prerequisite to a show being a comedy show.
When it comes to grief, we think of it as something that should be sombre or sad. But does it really have to be? Many things around the idea of grief or death are very funny. If you really stop and inspect mundane things, sometimes you wonder, why do these things exist? It is very funny.
I don't write while trying to lead people to a particular feeling. I write what I believe is funny to me, and I hope other people find it funny too. Whatever emotions come from the show, that is for people. I've heard people cry or sniffle during my shows, and that's their memory, that's their experience. I would never not let people feel whatever they want to feel.
Above Malaysian comedian Kuah Jen Han explores the lighter side of life’s heavier moments.
Malaysian comedian Kuah Jen Han explores the lighter side of life’s heavier moments.
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After stepping away from full-time comedy and later returning to the stage, did the break change how you approach your career?
Definitely. Actually, it changed more about the way I run my career rather than the way I write.
Comedy is showbiz. Many people like the show, but they don't like the biz. The biz means staging a show. It's not just about writing a show and then going on stage to perform. You need to secure a venue, work with a ticketing agent, technicians, a lighting operator and many different departments.
Having worked in the corporate world for four years, the most valuable lesson I learned was this phrase: “Just do and move on.”
Before I started working as an artist, I had the luxury of hyper-focusing. I would think, “I only want to work on one thing and one thing only,” and then obsess over it. Now I've learned to balance both. My objective is that I want to stage a good show. To get to the good writing, I have to sort all this other stuff out. So don't overthink it. Just do and move on.
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You've described yourself as more of a storyteller than someone who simply delivers punchlines. How has that shaped the way you build a set?
I'm not very married to the label of comedian or storyteller. Ultimately, I am a performer. I like to perform. I just really like comedy.
The reason why this show is a storytelling special is because traditionally, in more stand-up comedy shows, they are thematic. This show specifically is much more narrative-driven. We follow one story, but within that story, there are many bits and many jokes. I think, at least in our region, it is an experience that I would hope people find interesting. I also hope that more performers might explore this.
Above Kuah Jen Han on stage, where personal experiences become stories, and stories become punchlines
Kuah Jen Han on stage, where personal experiences become stories, and stories become punchlines
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You've performed for audiences across Malaysia, Singapore, Australia, Hong Kong and London. How different are audiences abroad?
Definitely. I think in the last two years I've started to explore different markets because, in Malaysia, I think the market feels like it's shrinking or becoming a little saturated for live performance in general.
Elsewhere, where comedy as an art form is more developed, they have more variety. There are different kinds of comedy. What I do, which is a narrative-driven show, definitely exists there, but a lot of times people are very surprised because they've realised they've never seen or heard an Asian perspective.
Ultimately, this show is about grief, a father and son, family and growing up. These are universal themes, but they're not often seen from an Asian lens, or a Malaysian lens.
Above Behind the laughs, Kuah Jen Han treats every performance as a full production, from writing and staging to lighting and technical direction
Behind the laughs, Kuah Jen Han treats every performance as a full production, from writing and staging to lighting and technical direction
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If someone who had never seen your work watched just one Kuah Jenhan show, what would you hope they walk away with?
I hope they walk away having really enjoyed the night. What I really want to do is put in the effort for this show so that the audience has a great experience. You come and watch a show, and it's a show. It's not just a guy telling funny stories. It's a show.
You leave and feel like you've had a good time. Then I hope the show inspires people to process their own thoughts or maybe even have conversations. I've actually received messages from people who told me that after the show, they felt compelled to reach out to a family member just to say hi. These are things I don't ask people to do. I really want people to take back whatever they want to take back. But the one thing I want to be sure I do is make sure they have a good time.
Above Kuah Jen Han has taken his narrative-driven comedy from Malaysia to audiences in Singapore, Australia, Hong Kong and London
Kuah Jen Han has taken his narrative-driven comedy from Malaysia to audiences in Singapore, Australia, Hong Kong and London
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Your father's voice is almost a character in the show. If he could watch Like This, Like Dad today, what do you think he'd say about it?
I talk about this a bit in the show. He had the typical understanding of an Asian or Chinese dad, where they're not necessarily good at expressing pride. The very first show I did with MACC in 2009 was my first theatre show. My whole family agreed to come, but I'm actually a very introverted, quiet boy, especially at home and even more so with my family. So they were like, “Jenhan is going on stage to talk? What's happening?”
My dad refused to come because he was so afraid. But when I asked him why, he genuinely told me, “If everybody watches your show, who will take care of the dog?” He did eventually come. Then the following year, MACC blew up. The show sold out. I was getting ready to go to the show and he asked, “Go show?” I said yes. He asked, “Got people go?” I said, “It's sold out.”
He just nodded and went, “Not bad,” and walked away. That is probably the most I can get out of him. “Not bad.”
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As Senior Lifestyle Writer, Aina writes across the lifestyle vertical, covering wellness, travel, arts and entertainment. Based in Kuala Lumpur, she previously worked at CLEO Malaysia, where she headed the lifestyle, culture and entertainment sections.
