"You'd have no trouble picking Allegra Fulton out in a crowd. She's the one radiating the most energy and sensuality. It's pretty hard to be immune to her appeal."
BETWEEN RIVERSIDE AND CRAZY
"Fulton milks her quirky Latinx Church Lady for all she is worth, and practically steals the show."
"Fulton navigates the play’s trickiest part with grace and a touch of magic"
"Fulton makes good work of the role and surprises us more than we anticipate."
"...a completely charming Allegra Fulton...with strong performances from the ensemble."
"Fulton’s eccentric clairvoyant Church Lady adds some much needed comic relief and magic"
Life with More Cowbell
"Allegra Fulton is entirely thrilling"
Money on Theatre
STRANGE BUT TRUE
"Even performers who have just one scene make a powerful impression. (In terms of impact vs. screen time, Allegra Fulton's cameo as a fortune teller is right up there with Gloria Foster's only scene in the original "The Matrix"; she has the voice of a streetwise fairy godmother who always tells the hard truth). "
THE GLASS MENAGERIE
"Fulton’s portrait of Amanda is human to the core"
"Allegra Fulton gives a towering performance as Amanda...full of nuance, gentility, steely resolve and determination couched in velvet"
"For her Shaw debut, she drops one of those singularly great acting jobs they whisper about for years around here"
"Ms. Fulton gives a staggering performance"
"Allegra Fulton Shines in Shaw's The Glass Menagerie"
DINNER WITH THE DUCHESS
"The duchess herself, played by the enigmatic, and effortless funny Allegra Fulton, is the highlight of this show. "
"The acting is tremendous, especially Fulton who goes far deeper than mere caricature of a woman aging out of a professional career where she once ruled the stage. Margaret aches with loneliness, anger and regret, which all comes to a head at the end of the interview."
"Allegra Fulton Takes a bow in Next Stage's Festival"
"Allegra Fulton stuns in the lead role, giving us a charismatic, witty, and tragically tightly-wound protagonist. Watching her shed layer after layer of pathos until the vulnerable, emotional core is exposed is a treat, especially in live performance. She fills the room with a grand and terrifying energy that made it nearly impossible to take one’s eyes off her."
Mooney on Theatre
"Allegra Fulton fills the part of Margaret with sleek sophistication and classiness that slowly gives way to the cracks in her veneer. "
"The duchess herself, played by the enigmatic, and effortless funny Allegra Fulton, is the highlight of this show."
My Entertainment World
"Fulton's performance is gripping."
Globe and Mail
"The central role allows Allegra Fulton to give a virtuoso performance...Fulton’s fantastic performance where she transforms herself sometime in only the space of a word from character to character. It is entirely Fulton’s energy and skill that give the purple prose of Tremblay’s récit théâtral its theatricality."
"Allegra Fulton is an absurdly talented person."
Theatre Isn't Dead
The Antaeus Company, Los Angeles
“The Groener crew, with Allegra Fulton’s sinister Goneril and Jen Dede’s hateful Regan balanced by Gregory Itzin’s noble Kent and Robert Pine’s sorry Gloucester — allowed me to see (and feel) the instinct of goodness at work in a malignant universe.”
-Los Angeles Times
“Allegra Fulton (Goneril) and Jen Dede (Regan) are so sexy and domineering in their calculations that it’s almost a turn-on.”
-Stage and Cinema
“So many cast members take so many interesting tacks. Allegra Fulton’s Goneril, when asked by Lear to state her love, resembles any non-actor suddenly asked to improvise a speech before an audience. Bart DeLorenzo dircts with an eye on the timelessness of the play. Each actor speaks without declamation—in a modern immediate delivery.”
“Allegra Fulton plays Goneril with a cruel twist.”
“Allegra Fulton (Goneril), Jen Dede (Regan), and Daniel Bess (Edmund) are each deliciously conniving as the evilest of Lear’s villains.”
“Allegra Fulton’s Goneril and Jen Dede’s Regan are calculating and sexy”
“Jen Dede and Allegra Fulton -each spot on and nicely textured”
-Onstage Los Angeles
THE TAMING OF THE SHREW
A Noise Within, Los Angeles
NOMINATED FOR A FALSTAFF AWARD
Best Principal Performance, Female: FALSTAFF AWARDS
PLAY SHAKESPEARE.COM 2009
Winner: Anne Hathaway (Viola, Twelfth Night, Shakespeare in the Park)
Nominees: Anna Bullard (Rosalind, As You Like It, San Jose Repertory Theatre), Allegra Fulton (Katherine, Taming of the Shrew, A Noise Within), Naomi Frederick (Rosalind, As You Like It, Shakespeare's Globe Theatre), Rebecca Hall (Hermoine, The Winter's Tale, BAM/Bridge Project), Anne Hathaway (Viola, Twelfth Night, Shakespeare in the Park)
“Allegra Fulton plays a feisty Katherine with a mind of her own.” -The Examiner
“Allegra Fulton as Kate offers a fully-realized person of intelligence, vulnerability and ... This is one of the best Taming of the Shrew productions that I have seen. -Gold Star Events -
“Of course, the most crucial turns are those of Kate and Petruchio, Shakespeare’s combustible combatants/lovers, played here by Allegra Fulton and Steve Weingartner. They initially seem cast against type, with Petruchio coming across as a comically strutting bantam and Kate as a pinched and sour-faced spinster whose buttoned-down asexuality bodes ill for any believable sexual chemistry between the two. Just wait. Once alone on stage, this Kate and Petruchio take fire, burning up the boards with barely suppressed sexual heat. It’s very romantic, very intense -- in short, very Italian.”
-Los Angeles Times
“Weingartner and Fulton’s dynamic physicality doesn’t stop at the sexual. The two play slapstick as well, and they do so with sublime goofiness.”
“The play rides or falls from its lead couple, of course, and they were fine: Steve Weingartner a resourceful, mercurial Petruchio; Allegra Fulton a mean-tempered, lanternjawed Kate. Both seemed to me more fully thought-out individuals than is often the case: these were people you cared about and were interested in, not simply funny characters in a predictable tussle.”
“He and Allegra Fulton, who plays a very mature, seemingly unmarriageable Katherine, are well-matched. But unlike most productions, Elliot's direction seems to imply this is a case of love at first sight. It just takes two acts for these two strong- willed fighters to exchange blows and measure the strengths and weaknesses of their opponents, before they can come together in the clinches and form a lasting alliance of love.”
-Daily news of Los Angeles
“Fulton’s Kate, like film goddess Crawford circa 1950, is no longer the spring chicken she once was, and her gravely voice suggests years of chain smoking, but this intentionally off-putting first impression makes her later transformation into adoring (and very feminine) wife all the more striking and touching. Fulton too, gets to play it for physical comedy laughs, in one scene stomping on the sofa cushions when she doesn’t get her way. “
“The sexual attraction (and chemistry) between Weingartner and Fulton is palpable from Petruchio and Kate’s first meeting.”
…in her final soliloquy, Fulton remains in control, even as her words indicate subservience. … Katherine has won Petruchio’s adoration, and it’s ultimately he who will do anything for his fair Kate, and not the other way around.”
-Stage Scene LA. Com
“Allegra Fulton’s Kate has enough rage to make this believable without dragging the whole thing into a loud screech. This is a play all about chemistry in the end, and luckily these two fine performers muster more than enough.”
-Out West Arts
“The heated conflict between Kate and Petruchio, performed by Allegra Fulton and Steve Weingartner, ignites the play into a raging wildfire of combative fights sometimes resulting in disheveled hair but ultimately leading to passionate understanding between these two spirited characters. The talent of both Fulton and Weingartner is hard to miss with their strong performances the offer much more than a simple battle between the sexes, but more of a struggle for Kate to come to terms with her truer nature through the tireless efforts of Petruchio.”
“Geoff Elliott’s production does away with Sly and the framing. Elliott tries to deal with all the misogynistic stumbling blocks by emphasizing the farcical aspects of the play and by casting a strong Kate in Allegra Fulton. Fulton navigates the terrain with irony and humor. When her character erupts in laughter after her elegantly sarcastic final speech, it becomes clear that she is having enormous fun at the cost of everybody else in the room—including the audience. And when Petruchio joins in her giggles, he signals that the couple has actually bonded. They leave this production as two happy pranksters, truly united.... Fulton and Weingartner’s nuanced relationship adds many layers to these scenes. They are full of aggression, repressed sexuality, slapstick and silliness.”
GEOMETRY IN VENICE
Segal Centre, Montreal
“Allegra Fulton is magnificent as Mrs. Moreen.”
- The Montreal Rover
“ Allegra Fulton (Mrs. Moreen) , who barters sex for her son’s well-being, is ideal as the noble ruin she is meant to be.”
- The Metropolitain
Stratford Shakespeare Festival
“Allegra Fulton gives a moving performance as Penelope and is a satirically slinky Helen.”
“…There are also sly moments of humor - his encounter with Allegra Fulton's satisfyingly seductive Circe and the robustly staged scene which sees the returned Odysseus cheerfully mowing down Penelope's 100 suitors. Fulton is a delight in two other incarnations as well - as a stalwart Penelope and as an amusingly bored Helen of Troy.”
“Allegra Fulton, imbues Penelope and Circe with smouldering sensuality. In contrast, she gives Helen a cold, metallic edge that forsakes none of her sexuality.”
-The record .com
“As ever-patient wife, Penelope , Allegra Fulton demonstrates considerable range and versatility in her additional assignments as the attention-craving Helen of Troy and the deliciously whorish Circe.“
Tarragon Theatre, Toronto
“Kudos to Allegra Fulton, Jerry Franken, Fabrizio Filippo, and particularly Diana LeBlanc for their considerable acting skills”
-Classical 96 fm.
THE PLAY’S THE THING
Soulpepper Theatre, Toronto
“Count on sizzling actor Allegra Fulton to discover all the layers of her diva character in Ferenc Molnar's French comedy. “
TOP THEATRE ARTIST OF 2019
The Dora Award-winning Fulton got the year off to a terrific start by adding charisma and diva-esque notes to her conflicted concert violinist in Nick Green's Next Stage Festival play Dinner With The Duchess. In her Shaw Festival debut, she brought layers of complexity to one of the most iconic roles in the repertoire – Amanda Wingfield in The Glass Menagerie – and also joined the ensemble for the revelatory revival of Mae West's Sex. At the end of the year, she added a bit of magic to the tricky role of the church lady in Stephen Adly Guirgis's Between Riverside And Crazy, seducing both the central character and Coal Mine Theatre's sold-out audiences.