The professional gezixi troupes in Taiwan, regardless of indoor theatre or outdoor temple fair performances, employ the uàh-hi extemporaneous performance as the primary mode of acting. The troupes in Singapore and Malaysia, having their roots in Taiwan, are no exceptions. ＂Play narration＂ is the preliminary stage of the uàh-hi mechanism. Most Play narrators, when orally delivering the content of the play, tend to more or less assume the function of a playwright and/or director. However, only very few are capable of writing up new plays using the scenario outline called tâi-sòo. Chen Meiying is a female lead specializing in tragic roles, who also doubles as a play narrator of gezixi troupes, Xinfengzhu and Sijichun in Singapore. Originally from the famous troupe Xinsaifeng in Singapore, she once served as the leading female role of the famous Malaysian troupe Qilin. Her performance credentials stride over both Singapore and Malaysia. Often, at the request of the troupe owners, she would compose new plays. Currently, the existing number of scenario outlines attributed to her amount to 19 plays. In this study, I start with the development of Ms. Chen Meiying's expertise in composing scenario outlines, her motivation, preference of subjects, and her approaches and techniques. I analyze how, just like many folk playwrights, Chen Meiying integrated her own life experience with the nourishment she assimilated from local culture to enhance the content of gezixi theatre one step at a time. I also examine how, as a female playwright and actress in Singapore, she used scenario outlines which exhibit characteristics that are different from those of the gezixi theatre in Taiwan.