top of page


Lighting, set and video Designer.  Performance Artist

Cheng Keng graduated from Royal Central School of Speech and Drama Scenography MFA. He is an artist/designer in performance art originally from Taiwan and based in London currently. He works with set, lighting and video to build the visual narrative and dramaturgy. Since 2015, He has designed and created works in contemporary performance, opera, experimental theatre, devising performance and online exhibition.


Credits include: Tiger(Omnibus Theatre)555: Verlaine Eb Prison & Double Bill, 'At the statue of venus’ and ‘La voix humaine’(Arcola Theatre), 1984(The Cockpit), Let Your Hands Sing In The Silence(Marlowe Theatre), These Words That'll Linger Like Ghosts Till The Day I Drop Down Dead(The Pleasance),
The Retreat(Finborough Theatre), 
Grills(Camden People Theatre), The Zone(Taoyuan art centre), A Hundred words of snow(OSO art centre) Pennyroyal(Finborough Theatre), Sankofa: Before the whitewash(Roundhouse), Birdie's adventure in the Animal Kingdom(Harrow art Center), Beauty and the 7 Beasts(Brixton Jamm), Borders(Drayton Arms and OSO Art Centre), 7homes(Online exhibition), Extremist(CSSD), @iContact: Mirror Talk(Tour), Blue Island 99(International Dublin Gay Theatre Festival, Sydney Fringe Festival), Hello World(Taiwan).


'Cheng Keng’s lighting is used to great effect in emphasising the vastness of the void in their little world.'

-Everything Theatre on These words that’ll linger like ghosts till the day we drop down dead


'Darling instead creating weightless objects on tall black plinths giving a sense of items on exhibit and perfectly matching with the surreal storytelling, enhanced by Cheng Keng’s lighting. Keng also manages to get the switches of location and time to work extremely well in such a small venue.'


-Theatre News on These words that’ll linger like ghosts till the day we drop down dead



Projection designer Cheng Keng and AV Supervisor Adam Lenson produce evocative and sparing projections back, angled at the sides in columns that glow alive. There’s forest scenes, and increasingly one where Rachel’s script evolves into ever-more frantic palimpsests and rewrites.


-Fringe Review on The Retreat 


Keng’s projections, too, make the inspiring, outdoorsy atmosphere of the retreat come to life.


-Always Time for Theatre on The Retreat

The lighting and projection design, by Ben Jacobs and Cheng Keng respectively, successfully craft minimalistic but effectively curated atmospheres for each of the play's many locations.


-London Theatre Review on The Retreat 


Fortunately, Cheng Keng’s lighting fits the bill: in illuminating only the slim strip of stage it allows us to feel Alice’s isolation and estrangement from her old life.


-The Stage on Tiger 


Although I see it’s purpose of conveying the passing of time there are more creative and subtle ways of doing this such as the excellent lighting design by Cheng Keng. The pulsing effect created with moody shades contributes to the intimate and sometimes claustrophobic feeling that comes with the territory of online dating.


-Theatre Full Stop on Borders


The striking, yet simple, set is by Sophie Thomas and the unusual lighting design by Cheng Keng.

-London Theatre 1 on Pennyroyal 


Cheng’s intricate direction threads these seemingly separate pieces together, and it’s lithely performed by Hsueh who takes on multiple personas to stirring effect.


-Audrey Journal on Blue Island 99

bottom of page