What Mark Lee taught Mahua FunAge Cheng Le’er about making audiences laugh

There are few things as instantly unifying as comedy. Across languages, cultures, and generations, laughter has a way of cutting through noise, disarming differences, and making people feel seen. That spirit was on full display at Marina Bay Sands’ inaugural Sands Comedy Season, which ran from 31 January to 5 February 2026, bringing together some of the most influential names in Chinese-language comedy under one roof.

Co-organised with Clover Films, the festival marked a milestone for Singapore’s live entertainment scene, featuring blockbuster stage productions by China’s leading comedy brands like Xiaoguo Comedy (笑果文化), alongside local icon Mark Lee (李国煌)’s first full-length Mandarin stand-up special. From long-running theatrical hits to sharp-edged stand-up and a cross-border film premiere, the season showcased comedy not just as entertainment, but as a shared emotional language.

Among those in town for the festival was Cheng Le’er (程乐儿), Assistant President and CFO of Mahua FunAge. Beyond her executive role, Cheng is deeply involved in the creative direction and long-term vision of one of China’s most influential comedy brands. Speaking about the power of comedy, she notes, “We live in divisive times, with too much noise and it’s hard to understand each other. Comedy allows people to connect, even when words fail.”

Here, Cheng reflects on her unconventional journey from film to musical theatre, the discipline behind making people laugh, and why resonance — not punchlines alone — is the true measure of great comedy. 

Q: You’ve had a unique journey into comedy, starting in film before musicals. How did that happen?

A: I started my career in filmmaking in Hong Kong, but over time I realised that the past can feel like a pipe dream—as if your earlier choices were mistakes. At the moment, you can’t really tell whether a decision is right or wrong. I just knew I was craving change.

A senior once told me, “A chess piece has to move for it to be alive.” That stuck with me. I wanted to move out of film, so I started meeting people from different backgrounds. That’s when I met the former CEO of Mahua FunAge. He invited me to join—not as a filmmaker, but as CFO. I studied accounting at Peking University and got my MBA in the US, so it made sense. At the time, I didn’t even realise Mahua produced musicals rather than films.

Q: How was your transition from film to live theatre?

A: Usually, people start with musicals before moving to films—but for me, it was the reverse. What fascinated me about musicals was the immediate audience interaction. In comedy, whether a show works depends on whether the audience reacts. Something might be funny to you, but not to them.

There’s no formula. You have to keep performing, analysing audience reactions, adjusting the tempo, and learning what resonates. That’s the feedback loop—it’s what makes live theatre so exciting. In film, success is immediate and fixed once the box office reports come in. Musicals give you room to experiment, to try new things, and to refine until you get it right.

Q: Can you give an example of that experimentation?

A: In Macau, we staged an interactive show tailored for the audience. It was an hour and a half, but by the end, only a third of the audience remained. I was initially dejected—we had worked so hard—but the partner was pleased because the audience had never been that responsive before. On the second day, we cut the show down to an hour to better match the audience’s energy and mindset. It’s about being adaptable and paying attention to your audience.

Q: What draws you to comedy specifically?

A: Comedy has always fascinated me because it’s a universal language. We live in divisive times, with too much noise, and it’s hard to understand each other. Laughter allows people to connect and feel seen. That’s why I love working in comedy—it’s emotionally powerful and instantly relatable.

Q: What makes a comedy successful, beyond just making people laugh?

A: At its core, a comedy should entertain—you should leave the audience laughing. But the best comedy goes deeper. I call it the second level of resonance: “I feel you, I understand you, and I know I can do it too.” That’s when it’s really meaningful. Even if a joke doesn’t hit perfectly, the audience should leave feeling lighter, refreshed, and more connected. Laughter is medicine.

Q: How does Mahua FunAge approach this kind of audience connection?

A: We constantly analyse audience reactions. Comedy is about trial and error, observing the tempo, and seeing what works in real time. Our musicals are funny, but they usually culminate in an emotional moment. It’s a balance—giving away all the happiness while keeping the tough emotions beneath the surface. That’s what makes a Mahua production feel alive.

Q: What are your thoughts on Singapore’s comedy landscape?

A: When I had lunch with Mark Lee, he said, “Comedy requires perseverance.” And it’s true—comedy actors, especially in musicals, often aren’t even fully seen by the audience, yet they keep giving their all. That dedication is what resonates, no matter the culture. 

Q: What advice would you give to someone with an idea or dream in this field?

A: If you have an idea, just go for it. I’ve always dreamed of travelling the world—that was my first job. My second dream was making films, which I achieved. Along the way, I realised that dreams themselves aren’t as important as taking action. Your ideas are valuable, and if you pursue them, you can achieve more than you imagined.

Q: Finally, what do you hope audiences take away from Mahua FunAge productions?

A: I hope audiences leave believing in themselves—just like our characters, who keep pushing their limits and learning to trust in their own abilities. Comedy isn’t just about laughs; it’s about connection, resilience, and hope. If we can make even one person feel understood and uplifted, we’ve succeeded.