The play arrives with a considerable amount of goodwill attached to it, not least because of Lipman’s superb comedic timing. Lipman manages to give off an energy and youthfulness far younger than her 80 years old, and she is one of those performers whose presence alone can generate affection from an audience, and there was certainly a feeling of anticipation as the lights dimmed. The audience at Richmond seemed eager to embrace the evening, and by the end there was no doubt that many had done exactly that.
At its heart, Allegra is a character-driven piece that explores family, memory, ageing and the often complicated relationships that shape our lives. These are themes that resonate universally and offer fertile ground for both humour and poignancy. The script balances light and shade reasonably well, allowing moments of comedy to sit alongside more reflective passages without becoming overly sentimental. Lipman is, unsurprisingly, the production’s greatest asset. She brings warmth, intelligence and a lifetime of experience to the role, creating a character who feels lived-in rather than performed. Her timing as mentioned remains impeccable, and she has that enviable ability to draw laughter from the smallest gesture or inflection. Yet beyond the humour, there is also vulnerability in her performance, a sense of someone navigating the complexities of later life while trying to make sense of the past.
Allegra is full of life, joy, and age has an irresistible urge to sing. She bursts into song at home, in the street, and even in local shops and cafes. The supporting cast including Emmerdale’s John Middleton playing Allegra’s much straighter-laced and concerned brother, Ronen, and Elizabeth Bower who plays Czech carer Anna, and who both do their best to keep life steady and calm. The real challenge however is in supporting Allegra’s many creative nuances, whilst not dimming her bright, and bold light. Bailey Patrick also supports the cast and plays a rather stressed and indeed likeable policeman, Officer Rogers. All actors contribute strongly, ensuring that the production never becomes a one-woman showcase. Relationships do feel believable, dialogue flows naturally and there is an ease to the performances that allows the audience to settle comfortably into the story. The production values are solid throughout, with thoughtful staging and design that serve the narrative without distracting from it.
What struck me most was how warmly the audience responded. There were plenty of laughs, frequent moments of recognition and that collective murmur of appreciation that emerges when people see aspects of their own lives reflected on stage. Theatre can often be measured by the atmosphere it creates in the room, and Allegra succeeded in generating a sense of connection among those watching.
For me, however, while the play was undoubtedly enjoyable, it stopped just short of becoming something truly memorable. It ticked all the boxes one might expect from a well-crafted evening at the theatre: strong performances, relatable themes, humour, professionalism and an engaging central figure. Yet, I found myself waiting for that moment of emotional lift-off, that unexpected surge of feeling that catches you by surprise and stays with you long after the final bow. The ingredients were certainly there. The themes invited deeper reflection, and there were moments when the play seemed poised to deliver a particularly powerful emotional punch. Yet somehow it remained just on the surface for me. I admired it more than I loved it. I enjoyed the journey while I was on it, but I didn’t leave the theatre carrying the characters or their stories home with me in quite the way that the very best productions can inspire.
That is not to say the play lacks heart. On the contrary, there is plenty of warmth running through it, and much of its appeal lies in its gentle humanity. Perhaps its strength is also its limitation: it aims to entertain, engage and comfort rather than challenge or unsettle. There is absolutely a place for that, and judging by the enthusiastic response around me, many audience members found exactly what they were looking for. In an era when theatre can sometimes feel determined either to provoke or overwhelm, there was something refreshing about a production content to tell its story clearly and allow audiences to enjoy the company of its characters. Not every play needs to reinvent the wheel. Sometimes a well-told story, performed by talented actors in a beautiful theatre, is enough.
And perhaps that brings me back to Richmond Theatre itself. There is a charm to watching a production like Allegra in such surroundings. The theatre’s warmth, character and intimacy complemented the play beautifully, enhancing the sense of spending an evening in good company. As audiences spilled out into the Richmond night, there was a noticeable buzz of satisfaction and conversation, a sure sign that the production had connected with many people. For me, Allegra was an enjoyable and accomplished evening rather than a revelatory one. It offered laughter, warmth and some thoughtful reflections on family and ageing, all anchored by the considerable talents of Lipman. While it didn’t quite deliver the special emotional spark that transforms appreciation into affection, it remained a thoroughly pleasant and worthwhile night.
Allegra continues at The Richmond Theatre until June 13, Windsor Theatre Royal, June 15-20, Glasgow Theatre Royal, June 22-27, Bath Theatre Royal, June 29-July 4, and Harold Pinter Theatre London, July 8-August 8. For more details see https://www.allegraplay.
Reviewer - Mary Fogg
On - June 8
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