"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... Fulton is one of Canada’s acting treasures."

- Now Magazine

Dinner with the Duchess

"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.

- Jen Norman, Mooney on Theatre

"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."

Now Magazine

The Carousel

"Allegra Fulton’s masterfully balanced performance... In the end, despite the riches of every other element of the show, it’s Fulton you really ought to come and see. Her physical work is so transcendently fluid, it seems that the woman has no bones, morphing from childhood to old age with the flick of a wrist.”

- Richard Ouzounian, The Toronto Star

"Futon’s performance is gripping. I loved her incarnation of a serious of charismatic small-town charmers, full of affectionate swagger. And her depiction of children-running mothers ragged or tip-toeing around in grandma’s high heels for the first time is adorable"

- J. Kelly Nestruck, The Globe and Mail

"Fulton displays her incredible range in solo show The Carousel. In a focused, powerful performance, Fulton displays her wide vocal and physical range, changing from one character to another with breathtaking speed, summoning up sensuality in a word of gesture, sinking into herself to revel the depths of uncertainty and fear."

- Jon Kaplan, NOW Magazine

"Fulton is an absurdly talented person. Fulton is onstage solo and plays several characters that range in age approximately 60 years a part. None of these characters are simple - they’re all shouldering burdens from the past that they can’t talk about in the present. They’re haunted, they’re unhappy. Fulton owns it for the get-go. She immediately embodies each of the characters no matter how rapid-fire they change, and she moves gracefully but ever-so quickly around the stare, on all levels, throwing herself into whatever this character needs at a particular point, with absolute gusto. As I watched the ease with which she appeared to do this, I was totally awe-struck. This performance must be exhausting: but it didn’t show. She’s fabulous.”

- Theatre Isn’t Dead

Shakespeare in High Park

Julius Caesar

"Fulton’s Cassius is an interesting blend of almost voluptuous passion and realism”

- Robert Crew, The Toronto Star

"Fulton is excellent as Cassius, burning with palpable envy and resentment "

- Marin

"Louis doesn’t give this production’s only standout performance; the other belongs to Fulton, whose compelling and original approach to Cassius is (perhaps unintentionally) reminiscent of Lady Macbeth. Her manipulative goading of Brutus in the first act has an almost seductive tone; she also adds good touches of sarcasm and authority here and there."

- Jeff Cottrill, Digital Journal

The Comedy of Errors

"Allegra Fulton brings her customary poise and passion to the role of an unusually fiery Adriana”

- Robert Crew, The Toronto Star

"Everyone - particularly Allegra Fulton who has a delightfully quirky throaty delivery - handles the language well"

- Mooney on Theatre

The List

"Allegra Fulton triumphs again"

- Robert Crew, The Toronto Star

"Drawing us in with her charismatic condescension, Fulton makes us complicit in The Woman’s crimes - and then shows us the loneliness and fear that keep her at such a distance. (Impressively, Fulton seems able to summon tears with a single thought)

- J. Kelly Nestruck, The Globe and Mail

"The incomparable Allegra Fulton takes us into the worlds of both women... She is a fine actress and proves it resoundingly here. This is a performance full of nuance, subtlety, control and quite passion."

- The Slotkin Letter

"Fulton's performance is at the top of the list. Fulton is amazing using her voice and body to show this complex, never shying away from presenting her less likable qualities as well as the empathetic pain and loneliness in which she’s mired."

- Jon Kaplan, NOW Magazine

King Lear

"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

"He's (Harry Groener) magnificent and ably matched by Allegra Fulton's richly textured Goneril, who conjures memories of Estelle Parsons, mingled with the late, local actress Pamela Gordon."

- LA weekly

"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."

- Backstage-Critics Pick

"Allegra Fulton plays Goneril with a cruel twist."

- Socal Theater

"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"

- Dale Reynolds

"Jen Dede and Allegra Fulton - each spot on and nicely textured"

- Onstage Los Angeles

The Taming of the Shrew

"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."


"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."

- SoCal Theater

"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."


"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."

- LATheater

"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, lantern-jawed 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 un-marriageable 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

Geometry in Venice

“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.”

- Le Metropolitain

The Odyssey

"Allegra Fulton gives a moving performance as Penelope and is a satirically slinky Helen."

- Stage Door

"... 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."


"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."


Frida K.

"One of the most remarkable performances on the New York Stage... Allegra Fulton ferociously inhabits Kahlo's skin"

- Village Voice

"Allegra Fulton plays the almost mythic Kahlo with a bitter sweetness that makes her seem to be just about the strongest woman who ever lived"

- Time Out New York

"Fulton plays her (Kahlo) with hypnotic impecably calibrated intensity"

- New York Magazine

"Intimate and powerful, the production and Fulton's performance burn with the white heat of artistic passion and passionate art."

- Theatre Week, USA

"The strength of Montero's play and the hugely charismatic performance by Allegra Fulton is that neither has chosen a one-sided approach. Their Frida is complex, haunted, nasty, grasping, hurting, passionate and above all immensely alive."

- Variety

"Fulton was made to play this role."

- The Globe and Mail

"The heroic, arresting acting of Allegra Fulton makes Frida K. a brilliant and breathtaking show."

- The Toronto Star

"Allegra Fulton is riveting."

- NOW Magazine

"Allegra Fulton is consistently, almost aggressively engaging. Frida K. is a beautiful and surrealistic work that mirrors Kahlo's own art."

- EYE Magazine

"Montero's script is full of life and hope... finding poetry in Frida's ongoing dance with death. Fulton, in one of the strongest performances of the year, is infinitely watchable... Bonnie Beecher's dynamic lighting scores the emotional and temporal changes in the piece maximizing the dramatic impact of Fulton's astonishing presence."

- XTRA Magazine

"An uplifting triumph of the human spirit... Frida is a rich and piquant character (and more than a little salty) and Fulton gives full value"

- The Globe and Mail

"Fulton's performance is a gem... an entirely convincing and sympathetic portrait of a fierce, fascinating and independent woman."

- The Toronto Star

"A performance so controlled and yet intense, so fully embodying the character"

- NOW Magazine

"Fulton is truly mesmerizing in her creation of a living, smoking and raging Frida Kahlo.

- EYE Magazine

"In Fulton's mesmerizing portrayal, Kahlo is always the performer, unable to indulge the sensuality that pulses through her veins yet devoted to Rivera and to the art which serves as drug for both body and heart."

- Plays International, UK