ABOUT
Chen-Wei Liao is a New York City based scenic designer originating from Taipei, Taiwan. She received her B.A. in Drama and Theater from National Taiwan University and M.F.A. in Scenic Design from Carnegie Mellon University. She is a proud member of Local 829.
Growing up in a bilingual and multicultural environment, she is interested in observing and creating the connection between people, stories and space. One of her favorite meditation topics is the relativity between Freedom - Rights - Responsibility. And she is interested in psychology, neuron science, social studies and animal behavior studies.
New York City credits include the World Premiere of Islands of Contentment, produced by The Tank and The Hypokrit Theatre Company; the World Premiere of Three Musketeers 1941, produced by Project Y Theatre and was featured by the Woman in Theatre Festival (WIT); the NYT critic’s picks A Girl Is A Half-Formed Thing with the Irish Rep and the immersive production of Life & Trust, produced by the Emursive Production. Regional credits include Ms. Holmes and Ms. Watson-- Apt. 2B at the Arizona Theatre Company; Waitress the Musical at the Olney Theatre Center in DC; Ring of Fire with the Cincinnati Playhouse; Murder on the Orient Express with the Cape Playhouse; Jersey Boys with the Maltz Jupiter Theatre, and more. Her film Production Design credits include FREEDOM SHADOW, Directed by Ria Tobaccowala, selected by Tribeca Film Festival 2020; USER ZERO, Directed by Ria Tobaccowala; CLOSING DYNASTY, directed by Lloyd Lee Choi with the Hsubox production and more.
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PRESS
Visually, the set reflects its fractured sensibility. Chen-Wei Liao’s scenic design rejects the tidy architecture of mystery in favor of a cluttered, industrial sprawl strewn with props, bones, costumes, and the occasional bag of Doritos. The effect is deliberate chaos—a fever-dream workspace where anything can happen and often does. Gone are the traditional mechanics of farce; instead, the stage becomes a kinetic sandbox of agile performances and wild energy.
REVIEW FOR MS. HOLMES AND MS. WATSON -- APT. 2B
BY HERBERT PAINE, BROADWAYWORLD
Chen-Wei Liao’s vivid set design was artistically stunning, featuring a vibrant blue sky and luminous moon. The diner setting was well-represented with authentic booths and a full kitchen, accented by tile flooring.
REVIEW FOR WAITRESS
BY JULIA TUCKER, MARYLAND THEATRE GUIDE
Scenic Designer Chen-Wei Liao has created a set that uses a clever mix of rolling pieces and units that rise through the floor to give the production a look and feel that is minimalist, but robust enough that it doesn't feel too spare. It checks the boxes for both aesthetics and function, making it a perfect space for the cast to work in.
REVIEW FOR WAITRESS
BY KEN KEMP, BROADWAYWORLD
Scenic Designer Chen-Wei Liao also needs to be recognized for creating such a magnificently sterile and horrifying set. A veritable vortex of bleached children’s toys represents a sort of cold stillness mocking the representation of play. Before the play began, so many of its themes became clear.
REVIEW FOR MR. MARMALADE
BY JASON CLEARFIELD, PITTSBURGH IN THE ROUND
Liao design places the record label on a lift, creating a variety of environments for the “actors” to circulate the Man in Chair and for him to weave in and out of the imaginary action which explodes across the stage of CMU’s Phillip Chosky Theatre.
Part of what makes this production The Drowsy Chaperone so enjoyable, besides the sheer camp silliness of the musical is the way Dodge seamlessly integrates it all together. The pacing flows from scene to scene, number to number, but never drags.
REVIEW FOR THE DROWSY CHAPERONE
-BY GEORGE HOOVER, PITTSBURGH IN THE ROUND
The set design by Chen-Wei Liao is also very well done. I was particularly impressed and startled by the way the backdrop of chains were used throughout the show, acting as both a divide from the private and the public and literal chains of a holding cell.
REVIEW FOR THREE MUSKETEERS, 1941
BY EDITOR, ON STAGE BLOG
But the look and sound of the production were just right. The setting (designed by Chen-Wei Liao), dominated by lines of hanging laundry and a simple but workable fire escape, provided the proper tone, while the enlarged photograph, featured prominently, of the missing father was only partially visible.
REVIEW FOR THE GLASS MENAGERIE
BY MARK LORD, QUEENS Chronicle