Photographer: Matt Kallish
Makeup: Akina Shimizu
Hair: Isabel Williams
Styling: Jordan Gross
Styling Assistant: Rachel Olson
Grace Chow is a powerhouse of talent whose star continues to rise on the international stage. The award-winning Asian Australian actress, playwright, and storyteller has captivated audiences across theatre, television, and film with her dynamic performances and fearless commitment to her craft. Most recently, Chow shines in the hit new CW series Good Cop/Bad Cop, where she stars as the lovable and unpredictable Lily Lim alongside Leighton Meester, Luke Cook, and Clancy Brown. The show has received glowing reviews from Hollywood Reporter, Variety, and IndieWire, and Chow’s standout performance is fast cementing her as a force to watch in the entertainment industry.
Known for her range and authenticity, Chow has earned critical acclaim for roles in Australia’s Mystery Road: Origins and The Twelve, with the latter showcasing her depth in dramatic storytelling. She was recognized as one Rising Star by the Casting Guild of Australia. Beyond acting, Chow is also an accomplished writer, having won the prestigious Griffin Award in 2022 for her play The Promise Land. Her work spans comedic, experimental, and dramatic genres—a reflection of her curiosity and dedication to pushing creative boundaries. Whether performing on the main stage or crafting new narratives as a playwright, Chow is deeply invested in bringing underrepresented voices to the forefront, often advocating for accessibility, interculturality, and inclusion in the arts.
As her influence grows globally, so does the intrigue around her journey and what drives her compelling artistry. In our interview, Chow opens up about her experience working on Good Cop/Bad Cop, how theatre and screen work shape each other, and the friendships she’s formed along the way. From her early days as a student at WAAPA to the bright lights of international television, Grace Chow’s story is one of courage, connection, and creative evolution—and we’re thrilled to have her share it with us.
Good Cop/Bad Cop has already received rave reviews, and your portrayal of Lily Lim is a standout. What drew you to this role, and how did you prepare to bring her to life?
First of all, thank you for your kind words – the response has been really heartwarming. Honestly, this project is a dream: the creative team, the cast, the script… it’s all been incredible, and I’m so grateful others think so, too. There’s so much to love about Lily. She’s loud, caring, lovably unhinged, and always true to herself – even when it’s weird. That’s such a great lesson in life and in art: to commit fully. Plus, she has this wild, high-pitched voice that was just so fun to play with. It’s a joy when you’re given the space to make bold choices as an actor.
Your career spans theatre, TV, and even playwriting. How do these different creative outlets inform and inspire one another in your work?
They inform and inspire each other all the time! They are all such different practices that you begin to crave each and the other. It keeps things fresh, especially after you’ve spent time in only one capacity. I particularly love meeting other artists and discovering their hyphens: That stunt coordinator is making a short film! That showrunner likes to draw! That cast driver runs a restaurant and does musical theatre! I don’t believe people are one and the singular. I think we are complex beings with lots of contradictions – Creativity is organized chaos. The more chaos I invite by being an actor, a writer, a reader, a lover, a hater – whatever! The more there is to organize, the more creative I am. I think having multiple practices gives you a fuller spectrum of understanding around art forms and also a greater sense of curiosity and unknowingness at the same time.
Mystery Road: Origins and The Twelve both showcase your range as an actress. How did working on those projects shape your approach to storytelling?
I think they really built my confidence in front of the camera. You can watch those back and see how fresh-faced I am on-screen. I’d always felt a mastery on the stage as a live performer – even at that point. But film and television are totally different mediums for communicating to the back row in a live show. Both Mystery Road: Origins and The Twelve, at the time of filming and release, had been voted Australia’s number one favourite drama shows, so the cast and creatives on those were world-class. To be a beginner in that environment was a true gift. I learnt from the best, which gifted me the foolish delusion that I could run with the best of them – and I still hold onto that delusion. There’s so much rejection in this industry, so a little delusion and a lot of hope go a long way. Good Cop Bad Cop is my first comedy on the screen. I’ve been so blessed with the projects I get to take part in. I get to flex both my comedy and dramatic muscles.
You’ve been an advocate for accessibility, interculturality, and inclusion in the arts. Can you share how this advocacy shapes your creative process and career choices?
For me, advocacy shows up through visibility and perspective. It’s probably no surprise that I’m an actor and writer – I’m opinionated and like showing up. I’m especially passionate about visibility for Asian artists. We are here, and we are more than capable. I’m always looking for ways to encourage others who may be overlooked when it comes to access and opportunity. And you better believe I have a list of incredibly talented friends I recommend at every chance. There’s so much talent out there that just needs to be given a shot. I’ve been fortunate to have friends who are true changemakers, and I really look up to them. It’s encouraged me to advocate for access, which has always been received really responsively by the industry. However, I know that a positive response is not the case for all noise-makers. That’s why allyship is so important, especially for young women when they decide to speak up.
Winning the Griffin Award for The Promise Land was a significant milestone. What inspired that work, and how did it feel to have it recognized on such a national stage?
I have a wonderful interview on the Griffin Website that explains my inspiration for The Promise Land if you’d like to know more. But in essence, the play is an experimental work that explores the intersection of religion and colonialism. It’s written through the Chinese lens and is also structured to plant propagation, which I was doing a lot of during the COVID-19 lockdown. It was extremely special to be recognized by the Griffin Award. Some of Australia’s most celebrated contemporary writers are alumni of that award: Kill Climate Deniers by David Finnigan and Prima Facie by Suzie Miller are among my favourite reads. To say it was affirming is an understatement. The Promise Land was actually the first full-length play I had ever been paid to write. I sometimes go back, and this will sound odd, but I am surprised I wrote it. I’m really proud of it. When I won, I actually didn’t tell anyone for a while! I had to fly into Sydney to receive this national award, and I planned to do it alone. But my best friend Marlanie found out and offered to fly in with me. I’m so glad I can now share that memory with someone I love. There was a big speech, and I had an amazing outfit with cats all over it… but I was so young and nervous that I forgot to take my coat off before going on stage.
Your work spans comedic, experimental, and dramatic genres. What challenges do you face when switching between such diverse styles, and do you have a favorite genre to perform?
Wow. This is such an excellent question. You know what? I don’t really know if there’s a particular challenge that comes to mind because it’s just pure joy when you get to have breadth in your oeuvre of work – or to do something you’ve just never done before. I love all genres. I think sometimes having narrow taste can close you off to so many wonderful creative possibilities in your art. I’ve always resisted closing myself off from the possibilities. It’s good for me to do the weird, the funny, and the serious stuff. It keeps my mind and my acting flexible. Of course, I am more practiced in some genres than others, but I hope to keep practicing – to have the privilege of being a student of acting forever… as wide as it goes and as long as it’ll let me.
Good Cop/Bad Cop brings you into the international spotlight alongside talents like Leighton Meester and Clancy Brown. What has been the most surprising or rewarding part of collaborating with such a diverse cast?
This will sound very cheesy, but it is true… I think it’s been the friendships. I keep in touch with everyone – Leighton, Clancy, Luke, yes, and even some of the guest performers! We really played comedy like a team and became a family. John Quaintance created such a great work environment and has made such a brilliant show. It’s been one of the most joyful works I’ve been a part of. A lot of the cast were Australians, too – and I’m proud of that also! Like, what a performance Luke Cook and Blazey Best give… Scott and Will and Shamita! They’re all such talents. It was a masterclass to have these fantastic actors to work with and also the extraordinary and experienced John as a showrunner to boot. I remember even the makeup department saying the same thing… that it was their favourite project they’d worked on because it was fun. Everyone was both talented and kind! And you don’t always get both! I think you can see how much we all got on when you watch the show.
Looking ahead, are there any dream roles or stories you’re eager to tackle, either as an actress or writer? How do you envision the next chapter of your career?
I just want to keep doing this forever: working in film and television as an actor and writer. I’d love to have a feature produced. I’d love to lead a film. And I’m always daydreaming about being in a moody period drama or a dramatic sci-fi… and not just for the costumes (though, yes, please) but because that’s the joy of acting – to be someone else completely in another world entirely. “Fly me to the moon and let me play among the stars,” à la Frank Sinatra.
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