This troper done it twice in college works: once, his group recorded a fake radio commercial - it was tacky to the extreme, but the class only laughed when at the ending the troper said "Limited time offers!" Then, in a video, his appearance as a robber, in only two scenes, one being the memorable part (enters the frame, says "Let's get out, dammit!", and leaves) and other being just rendering someone hostage in the background. The class liked so much that the troper was the biggest response when the teacher asked "who was the best supporting actor?" out of all the delivered videos.

Mira-chan, during a choral recitation contest more than halfway through the previous school year. She was really included all throughout the performance--but as a tribal sacrifice. I was playing dead from the beginning of the performance, but I heard a couple of praises here and there of how I played my role really well.

To this troper, this can apply to people who have a profound effect on your life, once; and then you never see them again. This troper had a Hasidic Jew strike up a conversation with him at random in which, in less than one hour, he extolled his wisdom on everything from dating, to faith in {{GOD}}, to the economy, to his favorite basketball team. This troper never saw the man again, but his words have stayed with him for all five years since their meeting.

This troper's older friend could be considered this, because, even though he attended the same high school she did, all he is remembered for was his CrowningMomentOfAwesome, in which he, being the chivalrous idiot he usually is, saw this one girl about to get hit by a much MUCH larger guy, and ''tackled him to the ground, faought him bare-handed and won''. all the underclassmen who didn't get to meet him then just refer to him as "That guy who beat the shit out of *Insert Girl-Beater's name here*"

This troper is often remembered for doing small roles in plays than larger roles (I think my biggest role was as the cowardly lion in The Wizard of Oz). What can I say, if you can stand out while being in the chorus or a minor part, you have to be doing something right.

A similar example was when I was doing a group activity where we had to record a 50's style radio show. I performed "Dream" in a very high voice (ok, I had a alto voice at the time) while a friend (with a tenor voice) performed "Teenager in Love" at the same time. It was easily the best part of the show.

This troper is usually limited to these in School productions (except for Urinetown this past year), but it's obvious why- he steals the big laughs and the show on the spot. It's true- In 2008, we did Little Shop of Horrors. I was Bernstein and on every night, the audience laughed so loud after my line deliveries I couldn't even hear Seymour's dialogue- louder than any other scene in the show. A few months later I would go on to play Timon in a revue where we did Hakuna Matata. I remember plenty telling me I got the biggest laughs. So really, I guess it's a justified case of One Scene Wonder after all!

I do believe that I am more remembered for standing on a bench and being heard over about 20 people creating a hubbub in the wedding scene of FiddlerOnTheRoof without a microphone (I did in fact blow out my voice doing Fiddler because for some reason the director thought I didn't need a mic at all) rather than being one of 2 girls forced into cross-dressing and donning BEARDS because the amount testosterone was...practically emasculation.

This troper was recently part of a small play, just four people, ensemble cast and all that. The performances were SoOkayItsAverage, despite his best efforts to ham it up (the script was... eh...). But on the second to last line he turned the ham UpToEleven. The only reason anyone remembers the play now is because of that line and a previous one, wherein he's more worried about a guy.