Kristin Chenoweth’s screen career has always carried the same electric spark that made her a force on Broadway, but on film and television she has carved out something entirely her own.
Across comedies, dramas and the kind of scene-stealing roles that require both timing and emotional clarity, her performances have built a body of work that feels unmistakably crafted.
From early supporting turns to later roles that harness her singular voice, sharp wit, and surprising dramatic depth, her filmography charts a steady evolution rather than a string of isolated hits.
Pushing Daisies (2007–2009)
Kristin Chenoweth’s career reached a poignant, pastel-hued peak as Olive Snook in Bryan Fuller’s quirky romantic dramedy. Playing the unrequited lover of pie-maker Ned, Chenoweth crafted a character defined by exquisite yearning and a surprising resilience. Olive was often a tragicomic figure, delivering crushing emotional blows one moment and belting a heartbreaking ballad the next. Her ability to infuse the show’s stylized, heightened reality with genuine, raw feeling solidified her status as a dramatic comedic force, culminating in a well-deserved Primetime Emmy Award for her exceptional supporting work.
Schmigadoon! (2021–2023)
This Apple TV+ musical series allowed Chenoweth to brilliantly satirize the foundational genres of musical theatre, a world she knows intimately. As the rigid, moralizing Mildred Layton, she delivered a performance that was both hilariously over-the-top and technically flawless, particularly in her show-stopping, rapid-fire number “Tribulation.” This role was a perfect meta-commentary on her own legacy, demonstrating her unparalleled ability to inhabit and simultaneously poke fun at the golden age of Broadway.
Glee (2009–2014)
Chenoweth’s recurring role as April Rhodes, the former star of McKinley High’s glee club who returns to relive her glory days in a haze of regret and alcohol, was a masterclass in guest performance. April was a messy, intoxicating blend of tragedy and high-octane talent. Her appearances were always high points, offering spectacular, grown-up musical numbers while grounding the character in a deep, relatable sense of missed potential, earning her critical acclaim and Emmy nominations.
The West Wing (2004–2006)
Taking a decisive turn away from musical comedy, Chenoweth demonstrated her dramatic chops as Annabeth Schott, the witty and highly capable Deputy Press Secretary. This role placed her squarely in one of television’s most prestigious and dialogue-driven dramas. She navigated the complex political landscape with intelligence and rapid-fire delivery, proving she could hold her own in an ensemble of seasoned dramatic actors and expanding the perceived range of her talent.
Descendants (2015)
In a surprising, yet pitch-perfect piece of casting, Chenoweth took on the iconic role of Maleficent in Disney Channel’s hit movie. She transformed the classic villainess into a force of theatrical, over-the-top evil. Her commitment to the campy nature of the role—delivering lines with operatic flair and a glint in her eye—made her a favorite of a new generation and showed her willingness to embrace large, uninhibited character work in any medium.
The Music Man (2003)
In this televised adaptation of the classic Meredith Willson musical, Chenoweth stepped into the prestigious role of Marian Paroo. It allowed her to fully utilize her legitimate soprano and operatic training on screen. Her performance was a beautiful, faithful interpretation of the romantic leading lady, affirming her ability to carry a major, classically-structured musical production outside of the Broadway stage.
American Gods (2017)
In Neil Gaiman’s rich mythological world, Chenoweth played the ancient goddess Easter (Ostara), a deity whose cheerful, floral exterior masked immense, untapped power. This role was a visually stunning and theatrically challenging part that allowed her to explore themes of modern relevance and ancient folklore, culminating in a stunning, power-unleashing sequence that was one of the series’ most memorable moments.
Trial and Error (2018)
Chenoweth joined the ensemble of this documentary-style comedy as Lavinia Peck-Foster, an outlandish, possibly murderous Southern socialite. Her performance was a study in heightened absurdity, blending an almost dizzying eccentricity with moments of unexpected sincerity. It highlighted her skill in physical comedy and character creation, proving she could anchor a series with a distinctly broad and quirky comedic style.
Four Christmases (2008)
In this holiday comedy starring Reese Witherspoon and Vince Vaughn, Chenoweth played the supporting but memorable role of Courtney, a sister struggling with marriage and motherhood. Though a smaller role, it solidified her presence in major studio films, demonstrating her knack for adding sharp, slightly aggressive comedic relief that cuts through the sentimental holiday setting.
Hairspray Live! (2016)
Taking on the formidable role of the racist television producer Velma Von Tussle in NBC’s live musical event was a testament to her command of the stage and screen hybrid format. Performing live, she delivered a flawlessly crisp, menacing, and vocally demanding performance. It was a high-wire act that cemented her status as one of the few contemporary stars capable of mastering the demanding landscape of televised live theatre.