Versatile actor Vighnesh Dheenadhayalan has carved a unique path across theatre, television, and films, consistently pushing the boundaries of his craft. With standout performances in theatre productions such as Squid Game: The Experience, Moby Dick, and A View from the Bridge, Vighnesh has also made his presence felt on screen in projects like Mirrors, The Curve, The Dishwasher, Happy Gilmore 2 and the yet to be released Anthology series ‘2 A.M’, directed by Emmy Award winner Philip Gelatt, and Malcolm Mills.
Speaking about his dynamic journey from stage to screen, Vighnesh delves into the distinct demands each medium places on a performer. The biggest tweak that I have to make constantly is my voice,” he explains. “Theatre requires a specific vocal floor strength to project your voice. In no way do I mean shouting, there is a huge difference between shouting and projecting. No matter the energy of the scene, you have to always project in order to reach the audience. It requires certain energy and control over your breathing. Control to utilize the limits of your lung capacity, in a way that doesn’t look abnormal on stage. Because of this, your body’s movement and how it occupies space will change indirectly. But having a strong vocal floor helps in utilizing your breath completely and efficiently for a scene and minimize the amount of uncalled for bodily gestures.”
“In the beginning of my acting training, I used to find it hard to reason why I was acting with a bit more energy than a scene required. But I realized that theatre as a medium required that trickery from the actors in order to be effective. It helps to not think of it as a change in voice but rather your energy. My teacher Anya Saffir used to say, “even in an intimate and personal moment one must think about the audience sitting in the last row, and make sure to hit them with each word.” It is a higher energy level than one operates from, than what would be considered necessary in a given case. Doesn’t matter if you have microphones or not—if there is a mismatch between the vocal strengths of two actors on stage, it inadvertently changes the story.”
He further elaborates on the nuances of screen acting: “Film allows for a bit more rootedness. The camera is like a fly in the wall. It is interested in what is not being said and it can fish out the performance from an actor. Now that doesn’t mean you don’t need a strong voice, but the strength of projection should be instinctual in response to reality, rather than a default one that theatre demands. But unlike theatre where it is okay to not be a 100% close to the necessary energy for a scene, in film and TV, you have to be spot on. The camera also knows when an actor is not being truthful.” He continues, “For a play you have to sustain your energy throughout the entirety of a show, pushing and pulling as required, but for the camera, you have to give your everything for every single shot.”
He compared two character he has portrayed, that he considered to be similar to each other, one from a play and the other from a film. “Both Marco (A View from the Bridge) and the Protagonist (Mirrors) are soft spoken but very intense. Coincidentally they both have a lot of stillness to them to. The protagonist’s stillness is exemplified by his casual posture and demeanor, but that doesn’t work well for Marco. You have to always be active on the stage, even in stillness. One way I achieved that is by maintain active posture, and eliminating anything that would read as leaned back. Marco’s stillness is similar to a lion ready to pounce. This is not a characteristic of Marco, but I use that comparison to highlight the stark difference.
With an impressive portfolio and a thoughtful approach to his craft, Vighnesh Dheenadhayalan continues to captivate audiences across platforms, proving that true storytelling transcends format—it thrives on connection, instinct, and honesty.
