Committing To Character
Actors who’ve been in comedic plays share their methods
By Meghan McCrate | Design by Ally Parker
Amy Pilgrim as Elizabeth Bennet; Tyler Murray as Mr. William Collins and David Haugen as Charlotte Lucas in Tantrum Theater's production of "Pride and Prejudice" in October 2024. Photo by Ellie Clark, the artistic director of Tantrum Theater. Provided by Tyler Murray.
The Chaddock and Morrow College of Fine Arts is known for its diverse range of performances, showcasing the talents of Ohio University students. During the fall semester, the theater department produced four different shows, but one comedic take on Jane Austen’s classic novel stood out among the crowd for its ability to be ridiculously over-the-top while staying true to the original themes and characters.
“Pride and Prejudice” opened at Tantrum Theater on Oct. 25, 2024. The play was promoted with the tagline, “This rendition is not your grandmother’s ‘Pride and Prejudice!’” Directed by Sullivan Canaday White, the production was meant to feel like a game show, essentially seeing how characters would navigate the game of love.
The flashy nature of the show was evident in its vibrant costuming. All actors wore bright oranges, pinks and blues, paired with colorful converse. The game show atmosphere was enhanced by the music incorporated into the show, including memorable dance sequences set to Joy Lenz and Grace Potter’s hit, “I Want Something I Want.”
The over-the-top performances, combined with rapid character changes, set the stage for an engaging and fast-paced comedy. It is important to note, however, that there is a lot of thought and consideration that goes into crafting a strong comedic theatrical performance.
Tyler Murray, a junior studying acting, says he had to find a balance between being comedic while also staying true to his character.
“During ‘Pride and Prejudice,’ I had two very distinct characters that were very different from each other, and one of those characters – Mr. Collins – was a huge character," Murray says. “He has this larger than life personality, and closer to the show, I started really struggling with how to balance making him this super huge character, but also still being able to keep him grounded and believable.”
Murray says he always jots down initial thoughts after reading a script for the first time. He thinks about what feels natural to him and the character he is portraying. Usually, many of those initial instincts carry through the rehearsal process and end up in the actual performances.
For the role of Mr. Collins, Murray decided that he would move like a ballerina with “the dexterity of a T. rex.” He saw his character as strong, but with the ability to move beautifully and swiftly.
“If you're doing something on stage, you can do it a lot bigger,” Murray says. “You can go way farther with it. It can be really nonsensical, especially with something like ‘Pride and Prejudice.’”
Chris Reinhardt, a third-year student studying musical theater, played multiple roles in “Pride and Prejudice” that could not have been more different. For Reindhardt, comedies are hilarious when actors approach their characters’ absurd scenarios with seriousness.
Tyler Murray as Mr. William Collins in Tantrum Theater's production of "Pride and Prejudice" in October 2024. Photo by Ellie Clark, the artistic director of Tantrum Theater. Provided by Tyler Murray.
“The first way to kill comedy is to try to be funny,” Reinhardt says. “And the best way to do it is just to build these completely quirky and wacky characters, and try to see everything as life or death and serious – like our interpretation of Bingley. There’s ridiculousness going into that but you kind of have to ignore the fact that it's funny in order for it to be funny.”
Reinhardt says the cast approached this production with the same seriousness as they would with any other Austen novel adaptation. Heightened energy is also a huge part of comedic acting. Reinhardt says when the audience is not very loud or responsive, it is up to the cast to really ramp up the energy in the theater. If the audience is already in the mood for a ridiculous show, the actors can just “exist with them in that space.”
Comedy is often rooted in tragedy, Reinhardt says. It can emerge from the darkest and most unexpected places.
Steven Strafford, an assistant professor and the department head of musical theater at OU, has worked on countless plays, including some that were still comedic in nature but dealt with difficult topics.
“I think comedy has substance,” Strafford writes in an email, “For me, comedy is the way I organize the world. In the darkest moments of my life, I still have jokes. So, when I write, there’s always a healthy blend of jokes and tragedy kind of smashed together.”
He has firsthand experience writing about hardships. One of his favorite moments working in theater was writing and starring in his one-man play, "Methtacular!" The show follows Strafford's brief substance use disorder, which was a very difficult time in his life. However, it begins as a campy comedy, complete with humorous songs and sequences before the seriousness gradually seeps in.
Strafford was able to take a “deeply tragic” time in his life and present it in a way that makes people laugh and cry. Dissecting and reliving those moments is no easy task, but being able to look back at those times with a touch of humor can make them more manageable.
“I think it works because the story is so grim and the jokes give the audience a chance to be together in a group and receive it together. When we laugh as a group, we feel safe, right?” Strafford writes. “So, the jokes in my show allow the audience to feel taken care of in a way. Then, they feel in good hands and are willing to follow me through this difficult story.”
It is important not to forget the effort that goes into comedic performances. Similar to dramas, actors have to carefully consider all of their choices – and more than that – actors have the responsibility of making their characters resonate with audiences. Approaching ridiculous scenarios with seriousness and engaging with life’s hardships with a bit of comedic brevity seems like the best way to achieve that goal. b
