REVIEWS
THE LITTLE BIG THINGS
@sohoplace, 2023/2024
"The standout performance for me, however, comes from Amy Trigg; she plays physiotherapist Agnes to comic perfection (I lost count of how many rounds of applause she received for some brutal one-liners)... Trigg’s star is most definitely on the ascent."
"Amy Trigg, shines as Agnes, the trenchant and bawdy physiotherapist."
"...show-stealing Amy Trigg as physio Agnes punctures any schmaltzy sentimentality with a barrage of killer one-liners."
"Best of all is Amy Trigg, captivatingly charismatic as Henry's irreverent, sensitive and wise physiotherapist."
"Amy Trigg is dynamite as no-nonsense physio Agnes."
"One performance that completely blew me away was Amy Trigg’s completely hilarious turn as Agnes – a character whose presence on stage usually meant the next laugh wasn’t far away, stand up comedians would kill for some of the material she had. Amy’s ability to deliver these expertly written lines with such panache ensured a smile appeared on my face whenever I clocked her on the stage. The intricacies of the characters varied natures are played out to maximum impact, with Amy Trigg’s Agnes a contender for the best comic creation on the stage."
"Amy Trigg earned a round of applause for almost every line delivered."
"Amy Trigg is a whirlwind of timing and energy in a wheelchair, whose portrayal of a physio grounded in tough love provides some of the most heart-warming and purely funny moments of the evening."
"...the show is well and truly stolen by Amy Trigg, who brings the house down with her dry delivery and brutal one-liners as Agnes, Fraser’s physiotherapist. A wheelchair user herself, her candid approach to living with a disability and how it opened her life up in ways she couldn’t have foreseen is understated and profound."
"Henry’s no-nonsense, straight-talking physio Agnes (Amy Trigg), who also uses a wheelchair, steals every scene she is in as her one-liners."
"Trigg, seen earlier in this same theatre’s stunning Medea, is a knockout."
"One of the other highlights of White's writing is the character of Agnes, Henry's Physiotherapist, who is brilliantly portrayed by Amy Trigg...Trigg's performance is consistently truthful, heart-warming, and at times hilarious with perfectly timed comedic relief."
"Agnes (Amy Trigg) is comedy gold...Trigg has some powerhouse lines about attitudes to disability and steals every scene she is in with her sharp comic timing."
"Amy Trigg steals the show many a time as Agnes, Henry’s physiotherapist and mentor. She is joyous, honest and brings light into the show."
"Amy Trigg, who is perhaps the hidden gem within this wildly talented company, has one cracking one-liner after another."
"It’s genuinely impossible to keep track of how many rounds of applause she earns."
"A clear crowd favourite is Amy Trigg in her role as physiotherapist Agnes...it is remarkable that she creates multiple show-stopping moments with just her comic performance and a little help from White’s witty book. Add in her excellent vocal and movement work (choreography by Mark Smith is stunning throughout, by the way), and there is no doubt that she is a star of the future."
"Amy Trigg, also gorgeous, plays the comedic tough love physiotherapist with a wicked sense of humour. Her duet with the mum, played heart-wrenchingly well by musical theatre star Lindzi Hately, is a highlight....The audience adored her, quite rightly, and she had them in the cheeky palm of her talented hand."
"...if I had to pick stand-outs, Amy Trigg as Agnes instantly comes to mind; her charisma, energy and comedy blends well with her profound messages of hope and joy...What a performance!"
"Nowhere is this better demonstrated than by the show-stealing performance of rising star Amy Trigg as Agnes... Trigg makes her witty, horny, bossy, completely inspiring and about as far removed from being a victim as it’s possible to imagine."
"Amy Trigg is magnificently funny as a physiotherapist, whose motto is “I hurt people better” and whose use of the C-word brings the house down."
"It’s down to ribald, no-nonsense physiotherapist Agnes (played with knockout charisma by wheelchair-user Amy Trigg) to get his forward momentum going again."
"Another stand-out performance is given by Amy Trigg with hilarious physical therapist Agnes. With biting one liners, Trigg elicited multiple applause from the audience mid-scene.”
"The undoubted star for me is another wheelchair user – Amy Trigg as Agnes, Henry’s physiotherapist – whose impeccable comic squeezes every last drop of laughter from some of the funniest lines and moments of the show."
REASONS YOU SHOULD(N'T) LOVE ME
Kiln Theatre, 2021/2022
“Amy Trigg proves herself a skilled writer and a performer of great emotional range in this bravura one-woman show…She has a stand-up comedian’s feel for her audience and can shift the mood in a heartbeat…At 28, she’s already well established as an actor. This debut also establishes her as a playwright.”
“Amy Trigg’s vivid debut play is a frank, funny monologue with a satisfying emotional punch…Trigg is an assured performer with impeccable comic timing.”
“Amy Trigg is enormously entertaining… The monologue was last year’s joint winner of the inaugural Women’s Prize for Playwriting and it hits high notes with its humour. But it is Trigg’s charm that gives it a winning quality…she captivates with her puckish sense of mischief, ticklish punchlines and pace.”
“Amy Trigg's Reasons You Should(n't) Love Me…jointly won the inaugural Women's Prize for Playwriting last year. And it isn't hard to see why the judges loved it so much… Trigg's performance - and writing - is outstanding…she has us completely captivated… I'm shocked to find this is Trigg's first full-length play as it is so well-written and explores some really big topics while still being thoroughly entertaining. A hilarious, honest and heartwarming play which demands an audience.”
“Amy Trigg’s monologue, winner of the 2020 Women’s Prize for Playwriting, is a mixture of dry wit, emotional charm and high good humour. Trigg is terrific.”
“After a year of theatre-land lockdown, the Kiln reopens its doors with a flourish by staging Amy Trigg’s bracingly honest, warm-hearted rights-of-passage monologue…In a tour de force performance, Trigg’s comic timing is flawless.”
“Amy Trigg is a glorious storyteller and Reasons You Should (n’t) Love Me is an exuberant example of how powerful a one-woman show can be…Trigg proves herself versatile as both a performer and a writer.”
“You could not hope for a more life-affirming evening to herald theatre’s return than Trigg’s fizzing one woman show, her debut.”
“A frank and hilarious coming of age story…Trigg is terrific – radiant, hyper-energised and motormouthed. And her writing is slyly effective: dramatic crises and emotional body blows are smuggled in beneath its stand-up comedy surface…The writing is frank and fantastically funny…It’s a cock-eyed celebration of life in all its ghastliness and glory, crammed with wry wit and wisdom and glowing with generosity.”
"(Trigg) has bags of energy and absolutely tremendous delivery, tossing off her punchlines in a mannered, Bet Lynch-style drawl that makes her sound about 40 years older and hilariously undercuts her more emotional or grandiose statement..."
“Alone on stage for an hour and a half, she delivers a performance of mesmerising intensity”
“Amy Trigg makes you laugh and breaks your heart…Trigg brings an endlessly funny and upbeat spirit to Juno’s journey, which is matched by her hot pink blazer and unwavering smile. She writes in a poetic style, as if delivering musical stanzas…it’s just wonderful.”
"She is enormously entertaining...Trigg’s charisma is one of the many reasons to love to this play..."
THE TAMING OF THE SHREW
RSC, 2019/2020
"Amy Trigg as Biondella relishes the best line in the play which is: “I knew a wench married in an afternoon as she went to the garden for parsley to stuff a rabbit.”
"Amy Trigg's delightfully sharp turn as Biondella"
“The standout performance was Amy Trigg (Biondella), hurtling around the stage in her wheelchair as the slightly manic servant to Lucentia, delivering speeches with machine gun rapidity and dramatic pauses like the jam in the machine gun being fixed.”
"Amy Trigg gets to flaunt her skillful and comical manipulation of verse as Lucentia’s other servant Biondella, in a speech performed at double-speed.”
“I shall be sad to see another production that does not depict the servant Biondella(o) (played to side-splitting perfection thanks to Amy Trigg’s astonishing vocal command and comic timing) as a racing herald who uses her wheelchair to create a sense of greater urgency.”
"Amy Trigg was a brilliant Biondella, zooming around the stage in her wheelchair in a way that exaggerated the speed of Biondella’s constant bringing in of messages; her garbled report of Petruchia’s arrival was a brilliantly fast set-piece, and her constant confusion at the machinations of her mistresses a delight."
“Amy Trigg’s Biondella gets a whoop of applause for her breakneck-delivery of updates in one breath. Then caps it: ‘I knew a wench married in an afternoon as she went to the garden for parsley to stuff a rabbit.’”
"Amy Trigg in her turbo charged wheelchair as Biondella is full of life and vigour. She could outsprint everyone – clever for the resourceful Biondella, whose set pieces were delivered at breakneck speed with every word audible."
"Amy Trigg brings out all the humour of her go-between role as Biondella, charmingly insolent with Baptista, yet trying to be a good servant..."
“A delightful Biondella (Amy Trigg) charges round the stage in a wheelchair.”
“There are some fine supporting performances…and Amy Trigg as Biondella particularly catching the eye.”
“A great testament to Trigg’s comedic performance.”
“And, zipping about in her wheelchair, Amy Trigg turns the very small role of Biondella into a Puck- or Ariel-like spirit directing traffic and keeping things moving.”
“Richard Clews as Petruchia’s servant Grumio is hilarious as is Amy Trigg as Lucentia’s servant Biondella.”
“Amy Trigg, Lucentia's other servant Biondella gave some comic peformances especially when explaining the whereabouts of Petruchia in the wedding scene”
“Amy Trigg is a whirlwind as Biondella, propelling herself at high speed around the stage in a wheelchair and speaking some of her lines (as required) at the same pace.”
GOTH WEEKEND
The Stephen Joseph Theatre, 2017
"Amy Trigg plays teenage stroppiness perfectly but also sparks tears when she lets her guard down revealing her loneliness, fears and grief"
The Scarborough News
"Trigg is masterful in her delivery of withering put-downs"
British Theatre Guide
"Amy Trigg and Gurjeet Singh play the teenage children with fantastic subtlety, reaching beyond the stereotype of sulky teenagers to embody young characters sincerely struggling to come to grips with their lives as they’re thrown into new and unusual worlds."
Narc Magazine
"The stand-out performance for me was Amy Trigg in the role of the teenage daughter Anna...Amy’s performance was poignant, funny and refined...I couldn’t help but shed a tear with her character at the end."
Living North
THE WHO'S TOMMY
UK Tour, 2017
"There is also an outstanding performance – and this show is not short of them – from Amy Trigg as Sally. Trigg is a wheelchair user and dances with her wheels so effectively that it’s almost an art form in its own right. She sings beautifully too and has a very engaging, compelling way of using her face."
"Amy Trigg as Sally Simpson was one to remember in her role of Tommy’s friend and potential love interest"
"Amy Trigg (last seen at Nottingham Playhouse in The Glass Menagerie) surprises with a superb singing voice and a lovely performance as Tommy devotee Sally Simpson."
"Sally Simpson, played by Amy Trigg who has a beautiful singing voice, clear as a bell, and we feel her despair as she realises, as do the rest of the followers, that they have been conned (We’re not gonna take it)."
"Propelled by a liver-shivering rock band it cracks along with singing and signing, dancing and fighting, proxy vocalists and fully immersed performers, notably William Grint as Tommy, Donna Mullings as his mother Nora and Amy Trigg as Sally, the girl he leaves behind."
"Amy Trigg impresses as the adoring Sally Simpson."
"Your higher level sees the continued vulnerability being taken advantage of and Amy Trigg’s brilliant performance of Sally Simpson soon brings you back to the ground. Reality hits you like a kick in the face and Tommy’s vulnerabilities are back out in the open, here you see the behaviours of the lowest level of humanity come to the surface from the rest of the cast."
"Amy Trigg spins round the stage in her chair, dancing with grace and energy to ‘Pin Ball Wizzard’ … before touching our hearts with her innocent admiration of the now falsely idolised Tommy."
"Amy Trigg as Tommy’s faithful follower Sally Simpson was mesmerising."
"Amy Trigg’s Sally Simpson is beguiling as the callow, velvety-voiced super-fan who crumples at Tommy’s feet"
"Standout dancers for me have to be Amy Trigg, who also has a powerful and too silent role until her one number, as Sally"
"Other stand out performances include Tommy’s dad, Captain Walker, played by Max Runham, the Acid Queen, played by Peter Straker and the innocent yet fiery Sally Simpson, played by Amy Trigg."
THE GLASS MENAGERIE
Nottingham Playhouse, 2016
"Amy Trigg gives an outstanding performance as the shy, reclusive Laura."
"The long scene between Laura and Jim, in particular, is handled superbly, with Amy Trigg the stand-out member of the cast, reflecting Laura’s ultimately heartbreaking emotional journey beautifully."
"Trigg is little short of superb in the role…Trigg has such a compelling presence that the brittle figures are not needed to emphasise her insularity."
"Amy Trigg as the sweet Laura Wingfield pulls on the heart-strings particularly in her moments of betrayal by the perfectly cast Daniel Donskoy as Jim O’Connor."
"The standout scene thus is the long interaction between Laura and her gentleman caller and childhood crush, Daniel Donskoy’s Jim…The moment as Jim raises Laura to her feet to hold her in a dance, and then leads her to her wheelchair so they can dance properly – and for a moment beautifully until they knock the table holding a precious glass unicorn – is magically transformative. Trigg, Donskoy and Croft push the potential of the moment to a heartbreaking degree of hope, even leading to a sweet kiss, before Jim destroys everything with the revelation that he is already engaged."
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