Allegra

Allegra arrives at London’s Pinter Theatre with an intriguing premise of a woman with an irresistible urge to sing practically anywhere. Sometimes with full production values merely inside her head. With plenty of energy, and a four strong cast clearly committed to making the most of the material, this production on one level fully entertains. But beneath the surface froth of genuinely funny moments and inventive musical interludes, there’s a feeling that the play is trying to say far more than it ever allows itself the time or depth to explore.

Peter Quilter has an impressive pedigree for writing warm, audience pleasing theatre. With such works as ‘Glorious!’, which also starred Dame Maureen Lipman, he demonstrates his gift for engaging characters and finding humour alongside genuine pathos. Allegra certainly has those same ambitions, but this time the balance never feels quite assured, with the script introducing compelling ideas before moving on too quickly to fully develop them.

Dame Maureen Lipman is, as ever, utterly watchable. She has the rare ability to hold an audience simply by being on stage. Bringing warmth, wit and impeccable comic timing to every scene. Yet even an actor of her calibre can’t create emotional depth where the script doesn’t provide it. Her character hints at a richer, more complex story, but those opportunities are never fully realised before the play moves onto the next idea or musical interlude.

Stephen Mear’s direction keeps everything moving at an impressive pace, and his choreography brings real polish and imagination to the musical sequences that take place in Allegra’s mind. These moments are playful and stylish and offering a delightful glimpse into a more theatrical, more musical theatre aspect held within this production. But these also highlight the biggest issue with the piece. The imaginative musical flights of fancy sit uneasily alongside a script that often feels closer to a television sitcom. Leaving the evening caught between two very different styles that never quite come together.

The play continually introduces themes that deserve greater attention. Questions around over-medication, mental health, care, and society’s acceptance of those who don’t fit into expected norms are all touched upon but rarely examined in any meaningful way. Instead, potentially powerful moments are quickly replaced by another joke or another plot twist, leaving the audience with little chance to engage with the emotional consequences.

All this ultimately makes Allegra something of a missed opportunity. It’s undeniably watchable and frequently amusing, with a talented cast and highly creative production values that keep the evening buoyant. But for a play that brushes against such important issues, it never quite finds the confidence to stop entertaining long enough to say something lasting. Leaving an enjoyable, polished production that is easier to admire than it is to remember.


Photo credit: Marc Brenner