Barcelona
Closing: January 11, 2025Barcelona - West End History , Info & More
Duke of York's Theatre
St Martin's Ln, Charing Cross, London WC2N 4BG, United Kingdom London WC2N 4BG
Late night in Barcelona. An American tourist goes home with a handsome Spaniard. What begins as a carefree, one-night stand becomes an invitation to danger, as the personal and political catastrophically intertwine.
By turns funny, sexy and surprising, BARCELONA is a seductive thriller that will keep audiences guessing - exploring the fantasy of who we pretend to be, versus the truth of who we are.
With star turns from Lily Collins (Emily in Paris, To The Bone, Mank) and Álvaro Morte (Money Heist, Wheel of Time, Immaculate), Lynette Linton directs the West End premiere of Bess Wohl’s explosive play - running for 12 weeks only at London’s Duke of York’s Theatre.
__Assisted Performances__
Audio Described – Monday 25th November 8.00pm
Captioned – Monday 2nd December 8.00pm
Barcelona - - West End Cast
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Lily Collins can’t save bland two-hander
4 / 10
It isn’t just Wohl’s script that feels anodyne: the timing for tense arguments is off, meaning language sometimes crescendos unnaturally, making disagreements between the pair feel forced. There are also issues with the structure: when Lily Collins’ Irene runs for the door halfway through the show, Manuel begs her not to leave, but Irene is so irritating that you don’t believe him. When the script does finally start to heat up like a Barcelona morning, the twist is too gentle to rouse more than a cursory interest.
Lily Collins and Álvaro Morte make their West End stage debuts
6 / 10
The ill-advised hook-up that quickly stutters and the couple's arguments feel authentic; shouting over each other, voices and frustrations rising higher and higher. There are twists in the tale; some obvious, some less so. But overall, the production fails to rise above feeling contrived: it doesn't ring true that Manuel fails to ask Irene to leave as soon he tires of her and it also seems odd that Irene herself would run to the door, but not actually leave when things take on a more sinister tone.
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