1883 Magazine sits down with actress and comedian Lisa Gilroy to discuss her career beginnings, Interior Chinatown, and more.
Lisa Gilroy is a comedic powerhouse. The Canadian comedian, actress, and writer known for her sharp wit and dynamic presence in both television and online comedy. Building a strong following across YouTube and Tiktok, her comedic sketches and character-driven content have resonated with audiences and have translated on-screen, with Gilroy appearing in numerous TV shows and comedy series, like Brooklyn Nine-Nine, Let’s Be Real and Guilty Party. In every one, she demonstrates a versatile range in her performances.
With Interior Chinatown, Gilroy is showing a new side to herself as an actress by playing Detective Sarah Green, who Gilroy describes as a “low-rise jean-wearing, ass-kicking detective who only smiles maybe twice a year.” This role presented a unique challenge for Lisa, who is known for her vibrant and comedic presence. “She could not be more opposite to me, so it was so fun to tap into that confident no-bullshit energy on set when in real life I am No Confidence, All Bullshit,” she shares with a laugh. To embody Sarah, Lisa drew inspiration from Law & Order and even made a conscious effort to improve her posture— a detail her mom particularly appreciated.
1883 Magazine sits down with Lisa Gilroy to discuss her career beginnings, Interior Chinatown, and more.
Can you tell us about your character in Interior Chinatown and how you approached bringing them to life?
I play Detective Sarah Green: she’s a low-rise jean-wearing, ass-kicking detective who only smiles maybe twice a year. She could not be more opposite to me so it was so fun to tap into that confident no-bullshit energy on set when in real life I am No Confidence, All Bullshit. I watched a lot of Law & Order for inspiration and even tried (Mom, you’re going to love this) standing up straighter than I ever have in my whole life. But it was the scripts and the story that made the character feel like someone real and beloved to me.
What was it like working with Taika Waititi and Charles Yu on this project? Did their perspectives influence your performance?
Charles Yu, our showrunner and the author of Interior Chinatown, is one of the smartest and most creative people I’ve ever met. At work, we called him “The Oracle” because his mind is filled with twists, turns, and inner worlds; if you had a question about the show’s reality, talking to him felt like being granted an audience with a one-eyed witch in a secret cave (He has both eyes and is incredibly kind and open, so it’s not really like that—but you get what I mean. Magical.) Working with Taika was some of the most fun I’ve ever had on set. He plays loud music, laughs generously, and gets everyone dancing or doing push-ups if the energy dips. I’m such a freakish fan of his, so working with him was a dream come true
Interior Chinatown addresses stereotypes and societal roles. Did it make you reflect on any particular challenges you’ve faced as an actor or comedian?
The series tackles the many ways in which the AAPI community faces unfair stereotypes, doing so in a fresh and unexpected way that I think will really crack people’s brains open and get them noodling. For me, as a woman in comedy—especially coming up in the improv scene—I’ve experienced stereotyping as well, but in different ways. Sometimes audiences are colder to me compared to my male counterparts, maybe because I’m missing the quintessential beard and glasses of the White Male Improv King. Other times, I’ve been asked not to improvise on set, even when the men are. I just use these experiences as fuel for the roaring fires of hell that exist in my belly.
“I think I’m always on the hunt to play a big character. I like roles where I can be really mean, or really ditzy, or really scary—as long as it’s really something. Unfortunately, I’m half cartoon and half woman so I’m not a subtle actor by any means.”
You’ve built a following with your comedy, both on-screen and online. How does working on a project like Interior Chinatown differ from your other comedy projects?
Interior Chinatown was the first time I wasn’t cast for comedic relief. It was very difficult for me to essentially keep a straight face for six months of shooting but I learned a lot and had so much fun doing it.
From Jury Duty to Glamorous to Interior Chinatown, your roles vary widely. What do you look for in a project or role?
I think I’m always on the hunt to play a big character. I like roles where I can be really mean, or really ditzy, or really scary—as long as it’s really something. Unfortunately, I’m half cartoon and half woman so I’m not a subtle actor by any means.
“All my favourite comedians keep the vibe light and collaborative, and I’ve learned that’s truly the golden ticket to bringing out everyone’s best work.”
You’ve collaborated with major comedians and creators, from The Groundlings to Comedy Bang Bang. How have these experiences shaped your approach to comedy?
I’ve been incredibly lucky to work with people like Seth Rogen, Catherine O’Hara, Danny DeVito, and so many other amazing comedians—I could float into heaven and burst into a million pieces. Watching them work is inspiring because they create such a fun, playful atmosphere. All my favourite comedians keep the vibe light and collaborative, and I’ve learned that’s truly the golden ticket to bringing out everyone’s best work.
With projects like The Studio and Running Point on the horizon, do you see yourself moving into more scripted series work, or is there a genre you’re eager to explore?
One of my dreams is to corral all my favourite improvisers and make a semi-scripted comedy together. Sometimes, the hardest I’ll laugh all week is with other comedians in the green room before a show and I’d love to harness that energy and make something weird and cool. That or maybe I’ll start a podcast. I feel that the world is short on podcasts.
