ALLEGRA
Harold Pinter Theatre
★★½
“delivers bounce and brightness, and Dame Lipman sparkles”
Olivier nominated Peter Quilter’s new comedy ‘Allegra’ closes its UK tour in the West End. Charming in spirit and championing the off beat, it’s a little too thin to make me shout “encore”.
Allegra’s always been different – her head’s so full of music it overflows without warning. The village finds her a nuisance and suddenly her gift could be trouble. Will the world be the same if she’s silenced?
Quilter’s latest work is sweet but rather safe. It aims to challenge social norms but could do with more bite – bursting into song never feels as scandalous as the play insists. There are glimmers of nuance but Act 2’s social commentary feels a little heavy handed. Allegra is richly drawn, but the other characters feel thin by comparison, especially Anna as the only other female character. Still, the refreshingly dry humour lands, even if the erection gag doesn’t, and Allegra herself is undeniably charming.
Stephen Mear’s direction and choreography brings plenty of colour but not necessarily cohesion. Allegra shines brightest, her world feeling full and warm, while the supporting characters feel less well fleshed out. The Vaudeville style musical interludes sometimes interrupt the flow, and the surreal, fourth wall breaking singalongs tip into fever dream territory. The scene movement flows, but the dance numbers are so simple they flirt with cheesy.
Allegra’s soundtrack is fittingly eclectic, ranging from classical to various decades of pop. It suits her quirky, music loving character, but as an audience member it can feel disjointed, especially when a single word triggers a full song. Paul Schofield keeps the orchestrations light, with a broad palette of musical colours.
Justin Williams’ set channels charming octogenarian maximalism, with clever little hideaways that feel wonderfully lived in. The hidden tulips are a joyfully eccentric touch. Russell Ditchfield’s sound is playfully eclectic, backed by tracks of varying complexity, though a few mic cues miss their moment. Sam Biondolillo’s lighting shifts from simple washes to bursts of colour when Allegra hits full flow, giving the stage a gently hallucinogenic glow. Ben Bull for Big Tele’s videos add playful extra layers, transforming set details like a row of plates and making the judge loom over us with unmistakable authority. Williams dresses Allegra in joyful colour, in contrast with her more muted companions. JJ Wigs gives Allegra a gloriously wild perm and pink rinse – a riot of colour and chaos against everyone else’s far more conventional hair.
National treasure Dame Maureen Lipman brings the idiosyncratic flair without losing an ounce of humanity. Her cuttingly dry humour and dazzling comedy timing anchors her fizzing energy with genuine weight. Her shimmering soprano head voice is gorgeous. John Middleton as Ronen, Elizabeth Bower as Anna and Bailey Patrick as Officer Rogers are an endearing trio to bounce off – but let’s be honest, it’s Lipman’s show.
‘Allegra’ delivers bounce and brightness, and Dame Lipman sparkles. Though if you’re looking for a show with more bite, you might be better off elsewhere.
ALLEGRA
Harold Pinter Theatre
Reviewed on 9th July 2026
by Hannah Bothelton
Photography by Marc Brenner
