As the audience takes their seats, the stage is set as a rather rundown apartment. Its shabby décor and girly touches suggest it belongs to a young woman, a student perhaps. Barcelona begins as the door to the apartment is thrown open and a couple stagger in, kissing, embracing and falling over themselves with lust. He lifts her onto the kitchen bench, and just as they’re about to seal the deal, the mood changes and Irene runs to the bathroom.
The very inebriated Irene is an American abroad, a young woman in Barcelona for a bachelorette weekend (hens’ party). She’s a tiny little thing in a sequinned jumpsuit, all sparkles and flowing blond hair. She has met Manuel in a bar (or is it Manolo? Irene’s not sure…). He’s Spanish, from Madrid, older, brooding and dangerously handsome.
This is the perfect set-up for what comes next, 90 minutes of soul-searching and angst, served up with pithy observations of self and the world. It turns out that Irene and Manuel are both deeply unhappy and this night on the town is just one way of dealing with their very personal traumas.
Lily Collins and Álvaro Morte are both superb in this two-hander written by Bess Wohl and directed by Lynette Linton. Despite their obvious differences in age, intellect, worldview and even music – she likes the Black Eyed Peas and he’s more of a Puccini man – they form a deep connection based on a mutual desperation.
Manuel confronts Irene’s unhappiness before she even admits it to herself; the cause of Manuel’s sadness is revealed more slowly, but that slow burn makes it all the more powerful. Why is he here, in an apartment that’s clearly not his own, in a building that’s about to be demolished?
Barcelona is the West End debut for both these actors who are best known for their starring roles in huge Netflix hits. Collins is universally adored for Emily in Paris and Morte stars in Money Heist, one of the best things I’ve seen on the small screen in ages. On stage, they are both brilliant. Collins is hilarious as the ditzy babe from Denver who has lost a shoe and can’t stop chatting, but she is even better when faced with the sham of her real life. Morte fills the stage just by being there and gives the play much of its emotional depth.
It takes a good script and strong acting to hold an audience with no supporting cast and no set changes, and they do it with style. And there are some great lines here. Irene says Barcelona’s famous cathedral “looks better in the guidebook” and claims to be “a lower-case American”. And, when the past is all on the table, Manuel says, “I don’t know you well enough to lie to you.”
Wohl’s well-crafted script is carefully paced as it peels back the layers to reveal the human frailties and deeply personal motivations of these characters and Linton’s clear direction ensures it doesn’t lapse into cheap comedy or murky melodrama. The set design by Frankie Bradshaw makes it real and Jai Morjaria’s clever lighting design adds to the mood and emotionality throughout. And the intimacy of the Duke of York’s Theatre is perfect for this very intimate story that would easily get lost on a bigger stage.
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In the end, Barcelona is just two damaged people, two complicated lives and one short moment in time that will stay with you long after you leave the theatre.
Barcelona by Bess Wohl
Director: Lynette Linton
Set Design: Frankie Bradshaw
Lighting Design: Jai Morjaria
Cast: Lily Collins, Álvaro Morte
Barcelona will be performed at Duke of York’s Theatre, London until to 11 January 2024.
Some performances are sold-out.
