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Tsundere / Theater

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Theater has its fair share of tsundere characters. Not that you'd know from experience, you uncultured brute.

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     Harsh (Tsun) 
  • Kate from Shakespeare's play The Taming of the Shrew may count if you're one of those people who insist on believing that Shakespeare did everything first, although she was more of a Defrosting Ice Queen.
    • Some more modern interpretations of the play never have her lose her edge. However, Lilli Venessi, who plays Kate in the play-within-a-play in Kiss Me Kate definitely exhibits tsundere traits. Same goes for Catalina (played by Claudia Di Girolamo) from "La Fiera", a Chilean Telenovela also based in the play, though she's an Action Girl and older than the standard.
      • And Kat in 10 Things I Hate About You, which is also based on the play.
  • William Shakespeare has some more straightforward examples of a Tsundere than Katherine—Hermia from A Midsummer Night's Dream, for example, who gets very fiery when roused, and Katherine Percy and Hotspur of Henry IV Part 1, who are a Tsundere married couple. He constantly insults and belittles her while she threatens him with violence. And they are adorable.
  • Continuing with William Shakespeare's works, Leonato in Much Ado About Nothing describes Beatrice's feelings for Benedick thusly:
    By my troth, my lord, I cannot tell what to think
    of it but that she loves him with an enraged
    affection: it is past the infinite of thought.
  • Penelope Pennywise from Urinetown is a rare Western example of a Harsh Tsundere. Her 'dere trigger' is anything to do with Hope, since she is her daughter, and/or being reminded of her past with Cladwell. She has even been known to get violent at times, and is particularly good with a plungerÖ
  • In Mary, Mary, Mary alternates between being a cynical Deadpan Snarker and acting helplessly romantic, particularly around her ex-husband Bob. Her smug denial of being a "Miss Birdseye Frozen" only adds to the Tsundere impression, as does the noticeable catch in her voice when she says "I should know better than to believe it when somebody tells me that I'm—pretty."
  • Christmas Eve from Avenue Q, her solo song is even called "The More You Ruv Someone (The More You Want To Kill Them)"

     Sweet (Dere) 
  • In Gilbert and Sullivan's Iolanthe, the fairies give rather mixed messages, with cooing "don't go"s in between the abuse in "In vain to us you plead." It's practically the Tsundere anthem.
    In vain to us you plead—
    Donít go!
    Your prayers we do not heed—
    Donít go!
    Itís true we sigh,
    But donít suppose
    A tearful eye
    Forgiveness shows.
    Oh, no!
    Weíre very cross indeed—
    Yes, very cross,
    Donít go!
    Your disrespectful sneers—
    Donít go!
    Call forth indignant tears—
    Donít go!
    You break our laws—
    You are our foe:
    We cry because
    We hate you so!
    You know!
    You very wicked Peers!
    You wicked Peers!
    Donít go!

  • Beatrice from Much Ado About Nothing is more Sweet; she is friendly and amiable toward most people, except Benedick. Their "merry war" fails to hide their true affections from the rest of the cast. She defrosts to a certain extent, but her relationship with Benedick races up and down the temperature scale throughout. She's also fiercely protective of her cousin Hero, to the point of wanting to see Claudio dead when he wrongly accuses Hero of infidelity.
  • Marian in The Music Man is the benevolent and level-headed librarian/music teacher, who tends to be kind, if assertive, towards others. But when Harold Hill comes around, she is justifiably icy and dismissive.
  • Sarah towards Sky in Guys and Dolls.

If you knew what I had to do to get these tickets for the two of us, you'd thank me. Keep quiet, and go back to Tsundere before you get us both kicked out of this place.