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Allegra

Theatre Royal, Glasgow

Three stars 

 

Life is one great big cabaret for Allegra, the woman of a certain age cast as the life and soul of Peter Quilter’s play. Allegra may live on her own, but her world is full of colour, as well as occasional song. The latter is something the shopkeepers of her village know only too well, used as they are to being serenaded by showtunes on any given afternoon whenever Allegra graces their premises. 

 

Dotty eccentric she may be, but Allegra’s fondness for doing a number concerns her brother Ronan enough to bring in Czech cleaner Anna to keep her company. And when Officer Rogers from the local nick turns up at the door, the game would appear to be up. If only they all knew where she left her umpteen bottles of pills, everyone could have a quiet life. 

 

As pro Palestine supporters gathered outside the Theatre Royal prior to the show to protest its star Maureen Lipman's appearance following attempts to cancel its Aberdeen run due to Lipman's views on Israel, Quilter’s confection began as the most gentle of old-school sit-coms. Lipman’s Allegra swanned on stage like some Cowardesque diva having just risen in the middle of the day, but who remains sharp enough to offload a series of polished one-liners. John Middleton’s avuncular presence as Ronan heightens Allegra’s irrepressible nature, as do Elizabeth Bower’s increasingly conspiratorial Anna and Bailey Patrick’s comedy copper. 

 

Beyond the surface ebullience of Steven Mear’s production driven by Lipman’s effervescent presence, however, is a stately study of everyday happiness in the face of failing faculties. As Allegra’s inner musical bursts forth, it makes for something delivered with considerable charm. This is ramped up even more when Allegra tunes out of the real world awhile to give fully choreographed renditions of Tiptoe Through the Tulips, Singin’ in the Rain and more. As the cast soft shoe shuffle their way through each number, Allegra’s interior parallel universe is lit up on Justin Williams’ rural cottage set by Ben Bull’s expansive video work. 

 

At points this leap into full on widescreen routines choreographed by Mear recalls the similar excursions of Dennis Potter’s Pennies from Heaven or else Little Voice for seniors, except bigger, brighter and with less psychosexual angst. The grand finale sees Allegra free at last in a life affirming show that puts the power of song at its heart.


The Herald, July 24th 2026

 

Ends

 

 

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