Review: Allegra (Harold Pinter Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

The quality of Peter Quilter’s writing has been thrilling London audiences in recent months, with a phenomenal new production of his Judy Garland classic, End Of The Rainbow, as well as his other classic, Glorious! embarking on a UK tour. Not content with resting on the success of those two enduring hits, he has returned with a brand new play, Allegra, making its West End debut after a critically acclaimed tour. It feels increasingly rare to see brand new works reach the West End so quickly, with revivals of tried-and-tested classics proving the more common and safer route, so would this brand new play be music to my ears, or would it all sound hopelessly out of tune?

Allegra is named after its leading character, an elderly woman who has been aptly named. With the word having musical connections and being a term for joy, Allegra fits this description perfectly. Perhaps the most joyful person you’ll meet, she always has a song in her heart - literally, and it tends to drive people nuts. Bursting into song randomly, she has the habit of leaving reality behind and embracing the orchestra inside her head. However, her singing has been receiving complaints for its disruptive behaviour, with her being labelled a nuisance, and the police even being involved. It is down to Allegra’s brother, Ronen and her new carer, Anna to attempt to control her eccentricities, but would suppressing her come at too high a cost?

There is very clearly more going on in Allegra than meets the eye. An older person increasingly losing her grip with reality can be attributed to a diagnosis. What is refreshing about Allegra is in how subtly this is referenced, rather than being hammered in. With the need for Allegra to medicate in order to control herself, the cost of this leads to the most emotional moment in the play as Allegra’s loved ones consider whether it is best to allow her to live her best life and be her natural, bubbly self, knowing full well they will lose her completely eventually. It all sounds rather heavy, but the beauty of Allegra is in its commitment to uplift audiences, replicating Allegra’s zest for life.

This is where Peter Quilter’s writing truly shines. While a serious message lurks at the heart of Allegra, its main focus is spreading joy. The character of Allegra is essentially a metaphor for this show itself which has come at the perfect time in a world that feels increasingly dark and gloomy. I have to admit I wasn't in the jolliest of moods for a number of reasons when I entered the theatre - the fact I was smiling and forgetting my troubles mere minutes into the start of Allegra is a testament to Quilter’s writing and every element of this production. Predominantly a comedy, there is no shortage of laugh-out-loud moments to be found, with some killer one-liners. A genius line comparing cocaine to cabaret smacks of Quilter’s signature wit. The fact the audience broke into spontaneous applause throughout this performance to the surprise of the cast at some points is a clear sign you are on to something special.

You can always tell when all creatives are aligned with their vision, as this is when theatre magic is made. Creatives should be able to bounce around ideas and lift the show in the process, and this is beautifully demonstrated with Stephen Mear’s direction. Perfectly tapping into the eccentricity of Allegra, its knowing wink to the audience and determination to keep the lighthearted feel even when themes risk getting heavy leads to a production that feels unlike anything else out there at the moment. It is the escapism moments that allow Allegra to truly come alive. Theatre itself should provide escapism, and Allegra’s escape from reality takes that up a notch, with the increasingly vivid musical performances among the best moments of the play. One moment, you will be watching characters deep in conversation - the next, Allegra is front and centre, encouraging the audience in a singalong. It sounds nuts, but it absolutely works!

That transformation is beautifully realised through Justin Williams’ set design. Replicating Allegra’s very-much lived-in house, the detail among the set always impresses, with its clutter, eccentricity and clashing furniture all designed to replicate Allegra’s personality. Lighting from Samuel Biondolillo ensures the design always bursts with life, and the aesthetic is always as beautiful as the writing, while Russell Ditchfield’s sound design makes sure every word and every note is always heard clearly. Some of Allegra’s neighbours may not wish to hear her singing, but the audience at the Harold Pinter Theatre certainly do, and thankfully we have no problems on that front.

So who is Allegra? Taking on that role is Dame Maureen Lipman, making a welcome return to the West End stage after a thrilling performance in Rose. Where that role was far more poignant, Lipman’s commitment to a character performance is every bit as strong, even when taking on somebody as eccentric and exaggerated as Allegra. Crucially, Lipman always retains the very essence of the character, retaining the humanity so that it is never reduced to a caricature. Though Allegra is over-the-top, Lipman performs it in such a way that it doesn’t feel as far-fetched as it otherwise might, with the confidence this character is in safe hands through Lipman. Through her impeccable comic timing and a cheekiness befitting a much younger character, Lipman delivers a loveable performance that doesn’t just do Peter Quilter’s magnificent writing justice - it elevates it. Lipman carries a sense of magnetism that makes it impossible to take your eyes off of her - further demonstrated by a fly who found himself drawn to her at this press night performance. If that isn’t praise, I don’t know what is.

Though Lipman’s performance certainly dominates, Allegra isn’t a one-woman show by any stretch, and her three co-stars all have moments to shine. John Middleton is the perfect counter to Lipman as Allegra’s younger brother, Ronen. Though he still is relatively animated himself, he is also frequently exasperated by Allegra’s antics, with Middleton capturing this brilliantly with some humorous moments that lead to a great odd couple dynamic. Elizabeth Bower is a standout as Allegra’s new carer, Anna, delivering a performance with warmth and no shortage of comic moments. When her character gets riled up, Bower is a force of nature and threatens to destroy anything in her path in a scene-stealing performance. The cast is completed by Bailey Patrick in a small but mighty role as Officer Rogers. Certainly less dimensional than the other characters, he stops himself being reduced to a one-note character through his bold choices that offer some respite to the absurdity of his presence.

The stars have aligned in the writing, direction and lead performance in Allegra to create a show that is absolutely charming. Though this is a brand new show, there is a welcome familiarity to Allegra that puts you at ease and endears the play to you immediately, effortlessly sitting alongside Peter Quilter’s existing classics as an extension to his legacy. I found myself grinning from ear to ear from start to finish in what is the perfect tonic for this gloomy world and one of the most joyous shows I have ever seen. Theatre can often be the best medicine, and if you are looking for a much needed bit of wonder, fun and escapism, Allegra creates the perfect melody, ensuring you will leave the theatre with a song in your heart.

Allegra plays at Harold Pinter Theatre until 8th August. Tickets from https://allthatdazzles.londontheatredirect.com/play/allegra-tickets

Photos by Marc Brenner