Developing Character within Comedy: Fantastic Examples and What to Learn From Them

As an actor, working in comedy may not seem as character driven as dramas, thrillers, and romance, but good characters are vital to good comedy. We’re not just laughing at the funny scenario, we’re laughing because of what that character is doing in relation to that funny scenario. Comedic characters can be just as well-rounded and nuanced as any other characters.
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Spaced – how to create relatable characters
Spaced balances the relatability of being a 20-something with the surrealness of, well, being a 20-something. It’s near-impossible to make a highlights list of the characters in this show because they’re all so good. Each one has their ultra-specific mannerisms and interests and unique tones of voice. Stellar writing of these characters is amplified by incredible performances tied into Edgar Wright’s distinct directing. It’s a cocktail of comedy perfection. Jessica Hynes (at the time Jessica Stevenson) as Daisy Stiener, for me, is a stand out performance. Every decision she makes as an actor is emotionally and comedically excellent. She balances the over-the-top, frequently excitable nature of Daisy while keeping the character grounded and relatable in an ever so wacky world. She embodies the kind of person brimming with aspiration but lacking the motivation to actually achieve those goals. But at no point do we stop rooting for her, despite her evident lack of focus and aversion to responsibility. Hynes plays Daisy so full of heart, charm, and relatability that we’re by her side through it all, laughing at her downfalls and cheering at her accomplishments. She feels like our best friend, or maybe just ourselves.


The Young Ones – how to be physically comedic
The Young Ones core four characters lean heavily into stereotypes of students in the 80s – stereotypes that still hold up to this day. You have Vyvyan the violent punk, Rik the wannabe anarchist-marxist, Neil the pessimistic hippie, and Mike the Cool Guy acting as the Straight Man in the show. In comedy, stereotypes are used and exaggerated to create larger-than-life characters, and highlight pre-existing notions of people that an audience has. As an actor, it’s important to take into consideration how far you want to take that, working with the director on this. Ade Edmonson plays the borderline-psychotic Vyvyan. His use of physical comedy, from big stunts to even the way he holds himself, makes Vyvyan such a fascinating and hilarious character to watch. Exaggerated movements and theatrics are naturally over the top but are done in a way that makes them look almost natural. We believe that this is just how Vyvyan acts. Playing nuances of the rare calmer emotions of Vyvyan without seeming out of place or out of character. Like in the episode Oil when Vyvyan gets a pickaxe through the skull and this loud and brash character becomes momentarily calm and quiet… before passing out.


Here We Go – how to balance comedy and emotions
Here We Go follows a slightly dysfunctional family navigating the trials and tribulations of modern life, and the bizarre scenarios they find themselves in, through the camera of their documentary-making teenage son. While primarily a mockumentary comedy, the show deals with the troubles the characters go through in their day to day – heartbreak, regret, pain, insecurity. There are times when the mood mellows and these comedic and silly characters have serious beats. Comedies may have rarer moments of seriousness: as an actor it’s important to balance the hysterics with the serious, and ensure that neither come off too unnatural. If the audience can never take you seriously, then emotional moments won’t land correctly. Freya Parks plays Amy Jessop, the cynical and sarcastic daughter of the family. Park’s delivery is usually quite deadpan and mellow, but played for comedic effect. In more serious moments for Amy, like her on and off relationship with girlfriend Maya and frustrations about her future, Park’s is able to distinct that mellowness from the comedic cynicism of Amy into something more emotional and serious.


The League of Gentlemen – don’t be afraid to look silly
Cult classic comedy The League of Gentleman features a variety of strange and unappealing characters, in both looks and personality. These characters are the butt of the joke and the ones the audience is laughing at. As an actor in comedy, you have to be comfortable with looking and being utterly ridiculous and ridiculed. You’re not the Hollywood hotshot, you’re the court jester. Reece Shearsmith and Steve Pemberton play couple Tubbs and Edward Tattysyrup who run a “local shop for local people”. They have exaggerated, up-turned noses, akin to a pig, and dirty, misshapen teeth. They are definitely not the picture of attraction but that is the point. Comedy is often about looking absolutely stupid, whether that be through physical comedy, or in this case costume, hair and makeup.


The Thick of It – comedy in chaos
The Thick of It is rather tense for a laugh out loud comedy. The characters, while in chaotic and high tension situations, stay fascinating and full-bodied, true to their motivations and quirks. The show was filmed rather unconventionally, with actors not particularly rehearsing scenes but rather moving where they feel for the characters in the moment. The cameras would then follow them around and try to keep up with the action of the scene. This collaboration of the actors, directors, and camera operators created very realistic scenes dripping with chaos. Speaking on the filming experience, Peter Capaldi said “The cameras had to follow us. They didn’t have any preparation. They wouldn’t know where anyone was going. A scene would tend to go on for ages. When they said cut, you’d be exhausted.” The infamous Malcolm Tucker played by the aforementioned Peter Capaldi is truly unpredictable. Capaldi embodies the character from head to toe that it’s hard not to become intimidated just by looking at him. The excellent delivery of witty insults and unhinged rampages created a character that seemed almost too insane to be real, but played realistically enough to be believable. This performance in tandem with the unique filming style makes the audience really feel like they are watching this, as if they were a fly on the shaking walls of a chaotic parliamentary building.


This Way Up – how do comedy and drama work together
This Way Up deals with very serious issues regarding mental health, relationships, and family – typical drama show themes dealt with with the weight they have – through a comedic lens. Centering around English teacher Aine, who’s trying to rebuild her life after a nervous breakdown, and her sister Shona, who’s trying to deal with her currently busy personal and work life alongside looking after her sister Aine. The show can make you cry as well as laugh. Serious scenes play out alongside hilarious scenes. It’s hard to remember the show was making you tear up with sadness when you see Aine and Shona’s peer-pressured rendition of Zombie by The Cranberries at a family party. Aisling Bea perfectly plays the main character Aine. Her wit and self-deprecation mask the mental turmoil she’s feeling. Her slightly destructive and occasionally misguided decisions are laughable though sometimes a representation of her unstable mental state. Bea walks across the tightrope between tragic and hilarious in Aine, pulling the wool over the eyes of the audience in her attempt to do so with her family and friends. It’s a brilliant portrayal of a deeply funny but troubled character, navigating a narrative that makes you cry tears of joy and tears of sadness.


What to take away, as a comedic actor
Comedy is more than just jokes, as an actor. You have to remember not everything that is happening to your character is inherently funny to them. It’s their involvement, responses, reactions, and actions that create the humour. Comedic characters are just as complex and important as dramatic characters. Sometimes they can go hand in hand (think dramedies). But comedy parts should be treated with just as much thought, just for a different reason – it’s for humour, not tension. Be bold! Look ridiculous! Step outside of your comfort zone. Don’t be afraid to make yourself laughable. Sometimes, even as the protagonist, the audience are rooting for your shortcomings. Have fun. Comedy is fun. It’s meant to be amusing. Try new things, new techniques, new styles, new deliveries. Oftentimes, this is a place where you can be over the top.

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Author

Akal Nijjar