Most recently on stage, Amy Trigg played Agnes in the world premiere of The Little Big Things at @sohoplace, which is a musical based on the Sunday Times best-selling memoir by Henry Fraser, working alongside Ed Larkin and Jonny Amies as Henry Fraser. Amy is part of the Original West End Cast Recording, and she won Best Actress in a Supporting Role in a Musical at the 2024 Olivier Awards for her portrayal of Agnes, and she made her West End debut also performing at @sohoplace when she was in the cast of Medea. In 2019, Amy worked with the Royal Shakespeare Company for both The Taming of the Shrew and Measure For Measure, and as a writer, her debut play Reasons You Should(n’t) Love Me opened at the Kiln Theatre in 2021 for the world premiere, returning the following year after touring, with Amy playing Juno in all of the runs, and she is currently developing the one-person play for TV. This year, Amy played Amber in the BBC comedy drama Death Valley for the final episode, with the show starring Timothy Spall and Gwyneth Keyworth, and had guest roles in Peter James’ Grace for ITV playing Louise Fordwater and in Amandaland – the spin-off series of Motherland – she played Mrs. Judd. Amongst her further screen roles, she played Shirley Warner in an episode of Father Brown, Miss Lambert in the Netflix series Everything Now and, in the BBC Three sitcom Such Brave Girls, Amy plays Claire alongside the show’s creator Kat Sadler (playing Josie Johnson), and the show is directed by Simon Bird, with Amy reprising her role for the announced Series 2. Amy co-wrote Episode 3 of the Netflix four-part limited series Toxic Town alongside Jack Thorne, and wrote Episode 2 of Ralph & Katie – the spin-off to The A Word. Upcoming work for Amy will be TV projects she filmed last year, and she currently has writing work in development with various broadcasters. Speaking to Amy, we found out from her about playing Agnes in the world premiere of The Little Big Things, being in the cast of the BBC Three sitcom Such Brave Girls as Claire and her debut play Reasons You Should(n’t) Love Me.

As a stage actor, you have most recently played Agnes in the world premiere of new British musical The Little Big Things at @sohoplace, how would you describe Agnes and what was it like taking on the role?

Agnes describes herself as ‘brutal but brilliant’ and I think that pretty much sums her up! Agnes has been a wheelchair user since a car accident when she was a teen. She has a positive yet realistic outlook on life – she’s not full of toxic positivity but she is out to enjoy the world. She’s a hyperfocused yet fun physio who manages to balance work and a thriving social life. When Agnes becomes Henry’s physio, she opens up doors that he (and his family) thought were closed. Portraying a sex-positive, career-driven, funny disabled woman on stage was a really significant experience for me – she’s the kind of character you dream of getting to play. There was a slight pressure in that Agnes is loosely based on Henry’s real-life physio, Ruth, plus a couple of other characters from his life. I was always encouraged to create my own version of Agnes though and it’s a testament to the writing that Henry and the Fraser family commented on how we’d managed to capture Ruth’s spirit in Agnes.

How was it learning about and helping tell Henry Fraser’s story, and how did you find the experience recording the Original West End Cast Recording?

I was aware of Henry and his work before The Little Big Things but I hadn’t read his books so that was the first thing I did. I was struck by his honesty – you rarely get his kind of experience documented like that and I would recommend that anyone and everyone pick up a copy of his two books.

I was involved in the workshops for The Little Big Things from October 2021 and it was a privilege to watch the creatives mold Henry’s story into what it eventually became. I love workshops and watching shows develop – our brilliant director, Luke (Sheppard), made sure everyone had a voice in the room which gave us a responsibility and ownership over the piece. Sharing the show with an audience for the first time was quite overwhelming. There was something especially beautiful about seeing Henry and the Fraser family watching us tell a version of their story. You could feel the buzz in the room whenever they were in. The joy in telling Henry’s story was something very special and I’m not sure I’ll ever get to replicate that feeling.

Recording the album was very exciting! We recorded most of it at Abbey Road so I got to pretend I was a popstar for the day. Having the cast recording is an amazing keepsake. I don’t like watching my work back but you’ll often find me singing along to Work of Heart or Sympathy in the car…!

What are some of your favourite highlights from working on The Little Big Things, and what was it like winning the award for Best Actress in a Supporting Role in a Musical at the 2024 Olivier Awards?

Performing the show for the first time was incredible. The excitement from the audience over a new piece of groundbreaking work was overwhelming. Performing at the Royal Variety Performance was such a fun experience too – especially when five of us accidentally found ourselves in the VIP section of the afterparty…! The final matinee was memorable because our wardrobe team and Tom (Oliver, who played Agnes’ husband, Marco) played a prank on me by laminating a photo of me and taping it to Tom’s boxers. It was very ridiculous and very on-brand for Marco and Agnes (and Tom for that matter)! The final night was overwhelming and turned into a blur – having that much support from friends, family and fans of the show was incredibly moving. People had really fallen in love with the show by that point and the cheers throughout the performance will stay with me for a long time. I’m getting carried away here when talking about highlights but there are so many. I met some of the best people on that show so everything felt special.

The day of the Oliviers was wild and very surreal – we got to perform together again (the show had already closed) which we weren’t sure would ever happen so that was a huge adrenaline rush in itself. Winning the award meant a lot – for a long time I didn’t really think I’d find my place in the world of musical theatre so to be accepted and celebrated on that level by people I respect and admire was a real moment for me. It felt like a lot of hard work had paid off so yeah, I was really proud of myself to be honest! I’m so glad there’s a recording of it because I think I blacked out for a moment…! I just wish there was a recording of my parents’ reaction because they were in the audience and reports suggest my dad reacted like I’d scored a goal at the World Cup! I think my mum was busy crying. I’m so glad they were there to share that moment with me. I really didn’t think I was going to win so I hadn’t written a speech which was probably a mistake… I can’t believe I didn’t namecheck Henry and the Frasers, how embarrassing! Embarrassment over my lack of speech aside, it was one of the best nights of my life and I’m incredibly grateful for those memories. 15-year-old Amy would be losing it if she knew!

What did you enjoy most about performing in Medea at @sohoplace and how was it having the show as your West End debut?

I learnt so much from working with Dominic (Cooke, our director) – he made me want to go back and redo all the jobs I’ve ever done with his lessons in mind! During the show, my character spent most of the performance watching from the audience, which meant I got to watch Sophie (Okonedo, who played Medea) and Ben (Daniels, who played all the male roles) deliver masterclass after masterclass in their scenes together. Seeing how their performances adapted over time and how they reacted to different audiences was spellbinding. So I suppose the most enjoyable part of the process was how much it ignited me as an actor. It was the kind of West End debut I needed and definitely prepared me for The Little Big Things.

Can you tell us about your time working with the Royal Shakespeare Company in 2019 in both The Taming of the Shrew and Measure For Measure?

I was thrilled when an audition came through for the RSC – I’d had a little taste of Shakespeare over the years and knew I was desperate to do more. I put so much pressure on myself during my auditions because I wanted it so badly but fortunately the work paid off. My time at the RSC felt like a DIY MA in Shakespeare. I loved being in rep and having understudy duties – I felt like my brain was constantly buzzing. If anyone is lucky enough to work with the RSC then I recommend taking every opportunity available. I went to every workshop and class they offered us and it really lit a fire under me. Being in rep also meant I got some free time at night, which is when I started to focus on my writing. It’s probably no coincidence that my writing career began when I was soaking up Shakespeare and focusing so much on text.

We understand you are in the cast of the new BBC comedy drama Death Valley starring Timothy Spall and Gwyneth Keyworth, which premiered on Sunday 25th May, how was it working on the show and what can you say about your character Amber?

Amber pops up in the final episode – she’s a beautician who finds herself tangled up in a murder. I won’t say too much because I don’t want to spoil it. Working on the show was great fun – everyone was so lovely to work with and the material was a joy. Death Valley is a warm and quirky comedy and I can’t wait to watch the other episodes. Also, I got to keep Amber’s orange tracksuit bottoms and I wear them all the time, so shoutout to the wardrobe department!

Earlier this year, you played guest character Louise Fordwater in the ITV series Grace (based on the novels by Peter James), how was it filming your episode?

Filming that episode was a breath of fresh air. I got to sink my teeth into some gritty and nuanced scenes which is something I’d been craving. There was a lovely team working on the show who made the whole experience really enjoyable. Also… sometimes being an actor (or anyone in this industry) means missing out on important moments in life. The producers and team behind Grace bent over backwards to make sure I could be at my fiancé’s (Jordan, who I met on TLBT) opening night in Hamilton and I’ll always be grateful for that because that doesn’t always happen in this line of work.

Had you seen Motherland before booking your guest role of Mrs. Judd in the new spin-off series Amandaland, and what was it like being part of the series?

I hadn’t seen Motherland before I auditioned but that’s one of the joys of this job – it introduces you to great TV shows! It’s wild because I feel like I watch so much TV but there are always gems I’ve missed. I’d worked with some of the team before so I knew I was going to have a lovely day of filming… and I did!

Can you tell us about your episode of Father Brown and what was it like playing the role of Shirley Warner?

The episode of Father Brown I was in was about the Kembleston Olimpicks – basically the village version of the Olympics – and the murder that takes place on the big day. My character is a suspect but I won’t say too much! I loved my 1950s costume, hair and makeup – I’d worked with Em (makeup artist) on another job and it’s always lush to see familiar faces when you roll up to work. We had a great ensemble cast and got to spend a few weeks in the sunny Cotswolds. I tell you what though, that period piece wheelchair I used was not easy to move about! It made me very grateful for my modern lightweight chair!

In the BBC Three sitcom Such Brave Girls, you play Claire, how was it working alongside the show’s creator Kat Sadler (who stars as Josie Johnson) and being directed by Simon Bird?

I was involved with Such Brave Girls from the first reading (before the BBC had decided to even make a pilot) so was lucky enough to see the evolution of the piece. Kat is one of the funniest and sharpest writers I know – and she’s so open to people and collaboration. She’s a dream! We filmed the pilot and didn’t hear anything for ages so I was thrilled when it got picked up for a series! My character Claire was originally meant to be more of a recurring character but changes to the script and series meant that wasn’t the case. As a writer I totally understood this but I was really chuffed when Kat made sure I came back for at least one more scene! It was just lovely to see everyone and see how the show had developed. Simon is a great director – he really trusts the script and the actors but at the same time is specific about what the scene needs. He knows his stuff and treats everyone with respect. I loved working with him and Kat.

You will be reprising your role in the future release of Series 2, what was it like getting back to set to film new episodes and how was it returning to the character of Claire?

I don’t think I can say too much here but let’s just say I’m really excited for Season 2. I got to read all the scripts and they’re hilarious. You’re in for a treat.

What was it like filming for the 2023 Netflix series Everything Now as Miss Lambert?

Filming on Everything Now was dreamy – I got to work with quite a few different directors who all brought something different to set and allowed me to improvise, which you don’t always get to do on gigs like that. I felt kind of bad because my filming was really spread out so everyone else was knackered and working their socks off every day and I would rock up every week or two like “Hiiii guys!!”.

As a writer, you have written your debut play Reasons You Should(n’t) Love Me, can you tell us about the play and what was the script like to write?

The play follows Juno, who was born with spina bifida and is now clumsily navigating her 20s amidst street healers, love, loneliness – and the feeling of being an unfinished project. It started as a series of essays about life as a young disabled woman but quickly turned into a monologue. I wrote the play on my nights off at the RSC in 2019. It felt cathartic to write as there are semi-autobiographical elements within the piece, but this also meant it was incredibly scary to even consider sharing. I wrote it without pressure – I wanted to write it for me more than anything.

How did you feel when Reasons You Should(n’t) Love Me opened for its world premiere at the Kiln Theatre in London in 2021 and how long had the show been in the making?

It was the first show at the Kiln post COVID so there was a big buzz around it and people were excited to be back at the theatre. I don’t think I fully acknowledged what I was doing at the time because I felt quite vulnerable. It was a big thing to write this very personal piece but to then perform it as a one-person show was even more intense. I guess I self-protected myself a lot at the time but I remember hearing the audience reaction on the first night and not knowing whether to laugh or cry!

I finished writing the first draft in December 2019, which is when I shared a 20-minute extract with some friends at the RSC who encouraged me to send it off to competitions and schemes. In 2020, the script co-won the Women’s Prize for Playwriting and by early 2021 there were plans for it to premiere at the Kiln. I think it all happened very quickly because theatres were available post COVID.

Reasons You Should(n’t) Love Me returned to the Kiln in 2022 after touring; do you have any further plans for the production and how was it performing in your own play when you played Juno throughout each of the runs?

There aren’t any plans right now but I’m developing the play for TV so that’s the next phase!

Playing Juno felt very natural – I’d written it in my voice so it was fun to be able to perform. I was also pushing myself as an actor which felt rewarding and it was amazing to get immediate feedback from an audience about the words I’d written. I would say that anyone who writes a one-person piece about their own experience needs to look after themselves. There were days when some of the words really hit me and I’d struggle a little emotionally. There were also days when I felt quite lonely doing a one-person show. Luckily, the play was cathartic and we always had a lovely team attached who made sure I didn’t become too much of an island! Charlotte (Bennett, our director) is a legend and supported me brilliantly through the whole process. It was quite strange returning to the play in 2022 as there were so many changes I wanted to make. Charlotte let me make a few cuts and changes but encouraged me to let the play exist as it was first written – another valuable lesson learnt!

Can you tell us what the experience was like co-writing Episode 3 of the Netflix four-part limited series Toxic Town alongside Jack Thorne and writing Episode 2 of Ralph & Katie (spin-off to The A Word)?

Toxic Town is based on real-life events and I loved the challenge of structuring a story whilst staying true to the real-life people. It’s something I’d love to do again. Jack and the team created something really important and I was just happy to be a small part of it!

Ralph & Katie was my first experience of a writers room and what a treat! There were six of us writing on the show and it was a very collaborative experience. It was also super eye-opening as it was my first experience of writing a script and watching it being filmed then aired. It taught me a lot and I consider myself very lucky to have had that experience so early in my career.

Where does your love of acting and writing come from and how did you get into both?

I’ve loved storytelling since I was little but don’t have any particular ‘aha!’ moment with either. Writing was just always a way of expressing myself and arranging my thoughts, whilst acting was a means to escape and a tool to get people to laugh with me. I like getting reactions from people when I perform so I think that was an early addiction of mine as a child! My parents encouraged my interest without ever pushing me, which I’m grateful for. They took me to the theatre and signed me up for afterschool drama classes. Acting was the thing I was hyperfocused on, and musical theatre is my first love so I ended up studying Musical Theatre at drama school (Mountview Academy of Theatre Arts) and got an agent from my third year showcase.

Writing came later… I’d always loved writing but in my teens I missed a lot of school due to operations and doctor appointments so at some point I decided I didn’t feel smart enough to be a writer. After I graduated from Mountview I got tired of paying for singing lessons when I was getting zero singing auditions, so I spent the money on an improv course instead. This led to more improv courses, then sketch comedy, then stand-up. From my (very few) stand-up gigs, I got asked to speak on some panels about diversity which led to me being asked to write an essay for the book Feminists Don’t Wear Pink (and other lies). After that, I started writing more essays which eventually became my first play. In 2020, I managed to get on courses and schemes like 4Screenwriting, BBC Drama Room, BBC Writer’s Access Group, TV Drama Writers Programme and the Royal Court Introduction to Playwriting. I wasn’t working as an actor much in that year because of COVID so I did all of these courses and schemes at home on Zoom and, again, it felt like I’d created my own DIY MA in writing. I got an agent from winning the Women’s Prize for Playwriting and have been working as a writer ever since.

I love both acting and writing and feel lucky to get to do them both.

How do you like spending your time away from your career, and what are some of your favourite films, TV and theatre shows to watch?

I love spending time at home with friends and family. My ideal Sunday is grabbing a hot chocolate, going for a walk and then coming home for a chill TV or games night with Jordan. I have in the past struggled to juggle life and career but I’ve gotten better over time. Jordan is also an actor so it’s lovely being with someone who understands the nature and demands of the job.

My favourite film is When Harry Met Sally because I think it’s one of the best scripts ever written! TV-wise, I’m a big fan of Stranger Things, Gavin & Stacey, The Bear, Severance, Parks and Recreation, Succession and more. I watch a lot of TV – we just finished watching The Day of the Jackal, which I loved.

I recently went to see Shucked at Regent’s Park Open Air Theatre and loved it – that’s right up my street when it comes to theatre! My favourite musical is probably Hedwig and the Angry Inch. It’s beautiful and the first time I saw it, I cried at a lighting change.

Have you received any advice over your career so far that has stuck with you?

I like the idea of taking my work seriously but not myself. Early on in my career, I remember idolising certain co-workers and realising it’s because they were kind and respectful to everyone around them… including themselves. I try to carry that energy with me – treat people well and work hard but also respect your own boundaries. From what I’ve seen, I think that might be the secret to longevity, and sleeping well at night.

What are you hoping this year brings for you, and do you have any projects coming up that you can talk about?

I filmed some TV jobs last year which will be out soon. I have writing work in development with various broadcasters so hopefully you’ll get to see them at some point soon but who knows! As an actor, I’d love to film another drama soon, and I’m really craving a return to theatre… maybe a Shakespeare or new play! We’ll see what happens…

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