Oct 315 min read

Review: Barcelona (Duke Of York's Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

If somebody tells you they’re off to Barcelona, you would probably expect them to hop on a plane to get there. However, for twelve weeks only, they may just be getting on the tube to Charing Cross for a trip to the Duke Of York’s Theatre. Boasting two titans of screen bringing their talents to the stage, there is plenty to be excited about with Barcelona, before you’ve even got into the play itself. But would this prove to be muy bueno or no bueno?

First written in 2009, Bess Wohl’s Barcelona makes its UK debut, set late one night in, you guessed it, Barcelona, where an American tourist goes home with a handsome Spaniard she has just met. What initially seems to be a carefree one-night-stand suddenly takes a surprising turn as both parties reveal hidden aspects of their past, who they are as people, and what has brought them to being in this apartment where all is not as it seems.

I want to start by stating I have been lucky enough to see some fantastic plays in recent weeks. There is always the question of what constitutes a 5 star rating with some veering dangerously close but ultimately landing on 4 and others teetering over the edge to just cross that borderline. This was not an issue with Barcelona – once it accelerated past the 5 star mark for me, it kept racing to the extent that if there was another star beyond 6, it would have likely crossed that point. Suffice to say, this is one of the strongest and most exhilarating plays I have seen this year.

There are several factors that make Barcelona such a strong play, First and foremost is the exemplary writing from Bess Wohl. Starting off strong, the audience acclimatise to the situation immediately, being given the essential information required of them while never being able to guess where it all leads – this is where Barcelona truly comes into its own, with the element of surprise. It is human nature to try and make assumptions as to what’s going to happen next, as I did judging by certain facial expressions of characters or little nuggets of information that were dropped. I’m not going to spoil anything by saying how the play progresses and where it ends up, but it's safe to say my original guesses were as incorrect as possible, refreshingly so. The lack of predictability and the element of surprise leaves you on the edge of your seat at all times, creating a gripping, surprising and always satisfying watch.

It isn’t just the unpredictability factor that is a testament to the strength of Wohl’s writing. She carefully plots character exposition, removing layers in a slow-burn but never boring reveal. The dialogue doesn’t just feel authentic and always interesting, it is regularly riotously funny. The hit rate of laughs come thick and fast in the opening parts of the play, paving way for a far more serious and sombre section midway through. The mixture of these two contrasting tones intertwines beautifully, with an unrivaled ability to leave a lump in your throat, only to have you bursting out laughing mere moments laughter. Bess Wohl has the audience in the palms of her hands with this writing, in what is one of the most consistent and striking written shows I have seen this year.

Lynette Linton’s direction takes Bess Wohl’s faultless writing and amazingly lifts it to another level entirely. The rare moments where the two cast members are away from each other on stage reveal the intricacies in her direction, with even the most subtle of expressions or reactions causing you to ponder what could really be happening. Wohl and Linton have created a stunning partnership which plays out wonderfully on stage – you can always tell when creatives in a play are on the same page and share the same vision. This is very clearly the case in Barcelona and the results are clear to see.

Frankie Bradshaw’s set design takes the Barcelona apartment and fills it with interesting details – many of which you won’t notice at first. Reflecting the slow burning nature of the play, it also reveals itself over time with seemingly insignificant props there for more of a reason than you may have initially realised. It’s not often I come out of the theatre thinking that a rewatch may give a completely different experience, but knowing where the play goes that is exactly what I want to do. Jai Morjaria’s gorgeous and varied lighting design provides an atmospheric setting as the night draws in and events draw closer, while a subtle use of video design from Gino Ricardo Green leads to an impactful and emotional effect.

Creatively, Barcelona is in a league of its own, and its two stars more than match that high standard, delivering two consistently knockout performances. Lily Collins may be best known for her role in Emily In Paris but she swaps that setting for another European city, remarkably making her stage debut, leaving me wondering what took her so long? Her characterisation of drunk American tourist Irene goes to different extremes, showcasing her versatility and strengths as an actor. Believably recreating the stages of drunkenness at first, there is far more to Collins’ portrayal than first meets the eye, with a vulnerability and staggering authenticity that continually wows.

Álvaro Morte also makes his West End debut taking on the role of Manuel. In a far more understated performance than his counterpart, he manages to captivate at all times while retaining the sense of intrigue and not giving much away at first. When the revelations do come, they showcase an astonishing performer at the top of his game. In a pinnacle moment, Morte delivers a powerful monologue with such intensity, I may have forgotten to breathe such was the magnitude of it all. Where control moves between the characters as the play progresses, Morte’s command of the character is never in question in a truly gripping portrayal.

Though both Collins and Morte are clearly incredible talents in their own rights, together they create a force that is a testament to the very best theatre can achieve. The changing dynamic between them adds an urgent and somewhat dangerous aspect to the writing, with sexual tension, chemistry and more surprising themes all thrown together to create a varied mix. The difference in personalities and histories of both Irene and Manuel leave no shortage of areas to discover, with the clash of cultures and ignorance to each other’s worlds that make the events thought-provoking and even timely, despite its setting approximately 15 years ago, with obvious comparisons to recent political developments.

There’s no way to sugarcoat it – Barcelona is theatre at its very best. While my love for theatre wasn’t in question, if I ever needed anything to reinvigorate it, this would be the play to do it. This is what theatre should be – gripping, powerful and impactful. Add to that the unexpected nature and you are left with something incredibly special. The writing, direction and production value all cannot be faulted, with the two exceptional performances pushing this to stratospheric levels. Of all the plays that are opening at the moment, Barcelona was one that almost passed me by, To say it took me by surprise would be an understatement, and the surprises kept coming throughout the speedy 90 minutes of the play. Absolutely phenomenal in every way, if you only see one play this year, make it Barcelona, but don’t leave it too long as once the wrecking ball hits, you’ll have missed your chance.