Triana Terry is a name that is about to take the industry by storm, we had a chat with her to find out more about how 2018 is going and her future plans.
Q. Triana you’re a multi hyphenate – actress/singer/artist – which is your favourite?
There isn’t a separation for me. I have always been an, actor, singer and painter. There are no boundaries between them. Painting people enriches my acting. I have always been fascinated by human behaviour and what makes people tick and I feel that every portrait I have painted has been a character study.
Q. How did you become an actress?
I was in all of the plays and musicals at school. I also dedicated a lot of my time to my Speech and Drama classes where I was properly introduced to Shakespeare’s work and I loved every minute of it. I was hooked! I relished memorising his sonnets and monologues, we would rehearse them with a director then perform them in front of the whole school.
I wanted to work as an actress back then but annoyingly my parents wanted me to finish school first. I snuck out of boarding school a lot and met up with friends. I hated the feeling of being trapped in one place. Once when I escaped from school I was caught by a teacher but that just got suspended. Don’t get me wrong I didn’t dislike school, I just hated rules!! I loved drama class and art class because I felt I could really run wild with my imagination.
I went on to study acting at Drama School and I was scouted by my first agent before I graduated.
Q. You did a film with Danny Dyer called Just For The Record – what are your memories of that?
I have wonderful memories of working on ‘Just for the Record’. I was thrilled to have landed the part and so soon after drama school, not to mention the incredible bunch of actors I had the privilege to work with, like Steven Berkoff and Rik Myall to name but a few. I made some great friends playing Lúcy Smithfield.
Q. As an actress, what would your dream role be?
Gosh that’s a hard one! There are so many parts that I would love to play. I enjoy playing meaty roles where I can really get my teeth into. I was asked to played Blanche DuBois in A Street Car Named Desire at Drama School. I would love to play her again! She’s incredible. I adore Tennessee Williams, who doesn’t? Haley, in ’The Pitchfork Disney by Philip Ridley, she would be fun to play, Wilde’s ‘Salome.’ Shakespeare’s Desdemona. If someone were to remake Glenn Ford’s ‘Gilda’, playing her would be dreamy!
I like working with new writing too, as one tends to have a lot more creative freedom. Your almost building a character from
scratch. Rehearsing with the writer and director, finding out what works best for the scene. Sometimes there isn’t enough time to rehearse and then you just have to go with your gut.
Q. How did you land the part in The Krays – Dead Man Walking?
When I was asked to audition for the part of Frances Kray I was rehearsing for a play at The Tristan Bates so I had to put myself on tape to be seen. Of course, when Jonathan Sothcott offered me the part I was thrilled!
Q. Is it daunting playing a real life character?
Well, I try not to think about it otherwise I’d be putting obstacles in the way of understanding Frances and who she was. There’s little real factual information about Frances out there which I suppose gives me a lot more freedom to find her within myself. Though I have read Jacky Hyam’s book ’Frances Kray: The tragic bride’ which gave me a sense of the atmosphere in East London in the 1960’s. Women at that time were always seen as submissive especially being married to Reggie Kray. When I read the script I saw an opportunity to portray Frances as a strong young lady who went against her mother to marry the man she truly loved.
I think if you’re playing a role that is a real life character or has been played before then watching others play the role would only stifle your performance.
Q. What’s next for you?
The Krays – Dead Man Walking the sequel.
I’m also completing the collection for my next solo exhibition which should take place soon. I’m just looking for the right space for it. So if anyone out there knows of a great space in central london for the exhibition I’d be grateful for the tip! It’s all portraits of women who have been through a traumatic event and they’re all at that interim period from complete blindness to realisation of their situation. Each of these women is unique and has had different experiences which made them feel vulnerable and trapped, and like with the characters I play I hope every piece demonstrates their story in some way that penetrates and makes the viewer question their own past and present situation.
