Take a trip on the London Underground at rush hour and you’ll be hard pressed to find anyone smiling, much less singing (unless it’s match day, of course). That is precisely what makes the character of Allegra so delightfully loveable. Written by Peter Quilter, the play is currently playing in Richmond as part of a tour ahead of a limited West End transfer.
Quilter reportedly wrote the role for Dame Maureen Lipman, and it certainly feels like a part she was born to play: eccentric, larger than life, and loveably naïve. It’s the kind of role that depends entirely on the performer’s ability to balance excess with sincerity, and in Lipman’s hands, it never tips too far in either direction.
Allegra lives alone in the house she inherited from her father. She likes it that way, and though the fridge may be empty, she remains wonderfully content. Much of this stems from the ‘orchestra in her head’, which frequently prompts her to burst into song, whether anyone is ready to hear it or not. It is both her escape and her expression, a coping mechanism that keeps the outside world at bay.
Allegra may not be the most technically gifted singer, but her exuberance proves infectious for the audience, even if it tries the patience of those around her. This is a small cast piece, and the intimacy serves the material well. Alongside Lipman, John Middleton plays Allegra’s more subdued brother Ronen, who hires carer Anna (Elizabeth Bower) in an attempt to rein in Allegra’s unpredictability. Together, they try to keep her out of trouble with local policeman Officer Rogers (Bailey Patrick), whose presence brings a subtle but growing tension to the story.
If Allegra feels faintly familiar, audiences may recall the recent tour of Glorious!, also written by Quilter and starring Lipman in its original West End run. Both plays centre on characters determined to spread joy through song. However, while Florence Foster Jenkins found an audience willing to indulge her, Allegra faces a far less forgiving world, grounding the play in something slightly sharper and more contemporary.
This is first and foremost a comedy, and a very funny one at that, with Quilter’s script delivering a steady stream of well-observed humour. The second act introduces more serious undertones, but thanks to well-established character work, facilitated by Stephen Mear’s assured direction, these moments feel earned rather than imposed. The tonal shift is handled with care, allowing the humour to give way to something more reflective without losing the play’s essential warmth. The resulting sense of injustice resonates strongly, giving the audience something more substantial to hold onto beyond the laughs.
The supporting cast make the most of their roles, with John Middleton particularly impressive as Ronen. He strikes a careful balance, allowing a gentle neuroticism to surface at key moments, hinting at the strain of caring without ever losing sympathy. Elizabeth Bower brings a grounded warmth to Anna, acting as a steady counterpoint to Allegra’s flights of fancy, while Bailey Patrick’s Officer Rogers introduces an undercurrent of authority that becomes increasingly significant as the story unfolds.
One of the play’s most engaging elements is the relationship between brother and sister. Though polar opposites, their affection is unmistakable. Ronen goes to great lengths to support Allegra, who in turn is willing to sacrifice her beloved music at the first sign of his distress.
However, it is Maureen Lipman who carries Allegra, both the character and the play itself. Her joyous performance captivates from the opening moments and never loosens its grip. Lipman has a complete understanding of the role, delivering each line not as scripted dialogue, but as something that feels instinctive and entirely her own. There is a generosity to her performance that invites the audience to laugh, but also to look a little more closely at the world around Allegra.
Much like Glorious!, Allegra is feel-good theatre at its most effective, but with a slightly sharper edge beneath the surface. You may not find anyone smiling on public transport on the way home, but you may well find yourself smiling on the inside, and perhaps wishing we could all be just a little more like Allegra.
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