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
In Lynette Linton’s production neither the suspense nor the humour hit home, the mix often more awkward than unsettling. The biggest in a handful of plot revelations lacks emotional impact and does not so much shed light on earlier events as render them distractingly implausible. Given the considerable creative talent involved, this is a curiously flat affair, feeling longer than its interval-free 90 minutes, with little sense of these strangers being transformed by a shared experience.
Collins is a revelation, as lively as she is as Emily, yet with a lovely capacity for stillness; as she listens to Manuel talk about love, she becomes becalmed, her shifting from foot to foot stopping as she becomes first enthralled and then appalled by what he is saying. When she talks about “the wedding industrial complex”, she manages to mix dreaminess and despair, the sense of a Denver girl clinging to her illusions with a harder-nosed realisation that they may be fake.
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