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
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.
Collins, in her stage debut, is a mercurial figure, zigzagging about like a butterfly, both physically and emotionally. Wohl gives Irene some great lines, which Collins delivers wittily: “I rely on other people not to sink to my level,” she says, admitting that what she is doing is screwed up. She’s never still, while Morte, in reply, has a quiet, contained quality. When they finally unpack their feelings, it’s clear that her restlessness and his stillness have to do with their unhappiness. But in the end, despite its thrust, this feels like a curiously flimsy affair.
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