Review: Barcelona

by Mike Matthaiakis

In Barcelona, Lily Collins makes an impressive West End debut as Irene, a brash American tourist who finds herself swept into a charged night with Manuel, a reserved Spaniard played by Money Heist star Álvaro Morte. Meeting on a whim in a Barcelona bar, they end up in Manuel’s cramped apartment, where their night together reveals vulnerabilities hidden beneath Irene’s outwardly shallow demeanor. Although the setup is somewhat clichéd, Collins skillfully gives depth to her role, portraying Irene as more than just a high-strung American stereotype. Her over-the-top enthusiasm masks a quieter discontent, and a poignant admission about her habit of imagining herself in the lives of others shows a woman struggling with the realities of her own choices.

While the play, written by Bess Wohl, starts as a light-hearted encounter, it evolves into a tale that attempts to tackle the cultural divides between Americans and Europeans, along with the heavy impact of past wars. Set in 2009, debates around the Iraq War and patriotism spark conflict between Irene and Manuel, but they often feel dated and underdeveloped, at times interrupting the flow of the characters’ more authentic struggles.

Morte, though mainly known for his television roles, brings a captivating intensity to the stage, balancing Manuel’s charm with an underlying sense of ambiguity. His reflections on love and personal pain contrast with Irene’s more whimsical worldview, adding a needed gravitas to the production. There is a sense of unease and tension as their vastly different lives and expectations collide.

However, Barcelona has its flaws. It can feel constrained by dated tropes, and while Wohl’s revelations about each character unfold with some finesse, the plot structure leans on a few contrived devices to heighten stakes between the characters. These devices at times disrupt the emotional realism the play is striving for. Despite this, Collins’s portrayal, along with Morte’s layered performance, brings unexpected resonance, particularly in the closing scene, where both characters reach a vulnerable honesty.

Wohl’s play resonates most powerfully as Irene and Manuel’s layers begin to peel away, revealing unexpected complexities that bring them closer than their initial encounter would suggest. Beneath the laughter and misunderstandings, these two strangers find reflections of their own battles, each wrestling with choices and regrets. Together, they seem to illuminate each other’s path, finding solace in moments of honesty that speak to a shared, unspoken longing to escape their own shadows. It’s in these quiet revelations that Barcelona finds its heart, striking a chord that lingers.

Until January 11 –  Duke of York’s Theatre