In a world that often feels short on joy, Peter Quilter’s Allegra arrives as the perfect antidote. Currently playing at Richmond Theatre ahead of a short tour and West End run at the Harold Pinter Theatre, this charming new musical comedy delivers laughter, warmth and genuine emotional depth in equal measure.
Written by Peter Quilter (the award-winning playwright behind Glorious! and End of the Rainbow), Allegra centres on a woman who refuses to conform to the conventional norms of English restraint. Full of joy and overflowing with music, Allegra bursts into song wherever she goes, whether in the street, hairdressers, petrol station, or the local shops; her irrepressible spirit is often bewildering and not always welcomed by those around her. As we get to know her, we are pulled into her world, and it is impossible not to be swept along by her infectious enthusiasm.
Maureen Lipman’s performance as Allegra delivers a witty and insightful take on life and society’s often hypocritical values. Lipman inhabits Allegra completely, balancing her eccentricities with a touching vulnerability that gradually reveals itself as the play unfolds. She is funny, fearless and utterly captivating, delivering a masterclass in comic timing while ensuring the character never becomes a caricature.
Allegra lives alone in a house with nothing in the cupboards apart from her father’s ashes, stored in an assortment of old tins. She is content in the company of the "orchestra in her head" that frequently prompts spontaneous musical outbursts. Yet beneath the humour lies a more poignant story. As her connection to reality begins to shift, the play explores themes of ageing, memory and identity with sensitivity and compassion.
Quilter surrounds Allegra with three excellent supporting characters. John Middleton (Emmerdale) as her brother Ronen is a man torn between unconditional love and frustration as he struggles to care for his increasingly unpredictable sister. Middleton brings a tenderness to the role, with an especially touching scene at the end of Act Two.
Elizabeth Bower’s (Trollied) portrayal of Anna, Allegra’s Czech carer, is sublime, bringing a no-nonsense, pragmatic approach mixed with compassion and patience; all served with a large, homely bowl of traditional Czech cooking. She is the perfect counterbalance to Allegra’s irrationality and chaos, while Bailey Patrick is endearing as PC Rogers, the local policeman, who is often conflicted in his approach in dealing with the many complaints about Allegra’s disruptive singing.
While all the actors provide stand-out performances, for me, the other star is Quilter’s script, which is packed with sharp observations and laugh-out-loud humour. The first act delights with its gentle absurdity and laugh-out-loud moments, while the second act introduces more serious undertones that feel entirely earned.
Under Stephen Mear’s assured direction and choreography, the production navigates these emotional tonal shifts with natural segues between reality and the fantasy scenes. Mear brings his considerable musical-theatre expertise to these larger-than-life scenes.
The musical elements are woven beautifully throughout the production. The Dennis Potter-like fantasy scenes work well in allowing us to step into the mind and world of Allegra. All made possible by lighting designer Sam Biondolillo, with video design by Ben Bull, and illusion consultancy from Chris Cox. Justin Williams’ set and costume design is beautifully layered, adding its own dimension of eclectic fantasy realism that allows the piece to work so cohesively.
Act Two had the audience fully immersed and singing the words to "Take Me Out to the Ball Game” from an oversize projected song sheet, amid a full dance routine and psychedelic lighting. Lipman’s singing may not possess the voice of a traditional musical theatre star, but it is expressive and fits the character. There are echoes of Quilter’s Glorious! (based on the life of Florence Foster Jenkins) in the story, both plays celebrating unconventional individuals who find freedom through music. Yet Allegra feels more contemporary and perhaps more poignant, examining what happens when a society that values order and conformity encounters someone determined to live by their own rules.
Allegra is just what the doctor ordered. In recent years, we have all become more subdued, medicated not by pills but by doom scrolling, and the 24/7 rolling news of global events. At least for one night, the audience laughed out loud and were on their feet with a standing ovation for the cast.
Allegra at the Richmond Theatre until June 13th. A full list of show times and tour dates can be found here.
Reviewer: Claire Hogan Photos: Marc Brenner