Lily Collins (Emily in Paris) and Álvaro Morte (Money Heist) star as the compelling leads in Bess Whol’s captivating new play Barcelona, directed by the talented Lynette Linton. The pair portray Irene and Manuel, two individuals who fortuitously meet in a bar and gradually unveil their deepest secrets throughout the course of a single night.
This drama unfolds in the early 2000s, amidst the vibrant nightlife of Barcelona. The storyline kicks off when American tourist Irene decides to accompany the dashing Spaniard Manuel back to his home. What initially appears to be a light-hearted, carefree one-night stand evolves into a gripping confrontation of intentions and desires, as personal stories intertwine with broader political themes. Upon diving into the premise, I anticipated an experience charged with dynamic energy and unexpected turns. When we first encounter Irene and Manuel, they stumble into his quaint apartment, a brilliantly crafted set by Frankie Bradshaw, perfectly capturing the essence of a quintessential Barcelona flat.
The apartment is adorned with soft pastel hues and features an open-plan kitchen and living area, setting the stage for their flirtation. Overflowing with playful banter and palpable chemistry, the couple initially embodies the carefree spirit of strangers engrossed in a fleeting connection. Irene, portrayed by Collins, embodies the stereotypical American tourist vibe, bursting with vivacity. Collins infuses the character with exuberance, portraying her as a loud yet bubbly presence whose charm occasionally veers into brashness. Her frequent mispronunciations of Manuel’s name—“Manelo,” “Manolo”—become increasingly comedic, especially as her inhibitions fade with each drink she consumes, interspersed with numerous passionate make-out scenes in the first act.
The audience shares in the laughter, and while Manuel joins in, he seems to reach a point of weariness with Irene’s antics. As the evening progresses, the lightheartedness gives way to a more intense atmosphere, marking a shift in their interactions. Morte offers a layered performance, as tensions rise and the playful banter transforms into a clash of ideologies and cultural critiques. Within their exchanges, they challenge each other’s national pride and political stances, engaging in spirited yet somewhat predictable debates that reveal deeper layers of their characters. At one point, Irene quips, “Just because I’m American, doesn’t mean that I’m American with a Capital ‘A,’” eliciting a chuckle from the audience.
As secrets unravel, both characters unveil facets of their personalities, embarking on a journey to strip away the layers that define them. One pivotal revelation concerning Manuel’s circumstances, hinted at by half-packed boxes in his apartment and a poignant stuffed toy placed on a shelf, ultimately fails to resonate deeply, given the limited emotional investment we have cultivated in their stories thus far.
In the second half, some extended exchanges between Irene and Manuel demonstrate solid acting, showcasing their chemistry. Irene, with her keen observational skills, inadvertently exposes a missing woman in the apartment, revealing a surprising twist that I did not anticipate, although the subsequent developments felt somewhat formulaic. The pacing of the script, along with an apparent struggle for both humor and emotional connection, led to a sense of dragging, leaving me feeling detached from their fates.
The most poignant moments highlight not Irene’s realization regarding her unfulfilling life or her conflicted feelings towards her fiancé—information unearthed by Manuel, who has been aware of her situation all along. Instead, the emotional depth resonated in Manuel’s poignant reflections about his past, particularly when he reveals to whom Irene reminds him.
As the narrative circles back towards a mutual resolution, the haunting shadows of Manuel’s deceased loved one gracefully dance on the wall, casting an emotional weight that resonates deeply. The skilled use of light and shadow amplifies these feelings, evoking a sense of bittersweet poignancy that is both touching and memorable.
Despite my desire to embrace this play wholeheartedly, I found myself grappling with an overly packed narrative within the brief 90-minute timeframe. I appreciated specific elements but ultimately felt the execution fell short of its emotional potential.
Need to know: Barcelona plays at the Duke of York’s Theatre until 11 January 2025
How does the vibrant backdrop of early 2000s Barcelona influence the story and character dynamics in the play?
**Interview with Lily Collins and Álvaro Morte on their roles in “Barcelona”**
**Editor**: Thank you both for joining us today! “Barcelona” sounds like a gripping exploration of interpersonal connections and cultural dynamics. Can you tell us what drew you to these particular roles?
**Lily Collins**: Absolutely! For me, playing Irene was an exciting challenge. She starts off as this vibrant, carefree American tourist, and as the night unfolds, her layers are peeled back, revealing deeper vulnerabilities. I love characters that have complexity, and Irene’s evolution throughout the show was something I deeply connected with.
**Álvaro Morte**: For me, portraying Manuel was intriguing because of the contrasts in his character. He’s charming and flirtatious on the surface, but as the evening progresses, you see the weight of his circumstances and the cultural conflicts that emerge in his interactions with Irene. The exploration of his identity and ideology adds depth to what might initially seem like a simple romantic encounter.
**Editor**: The play is set against the vibrant backdrop of early 2000s Barcelona, which is fascinating! How does the setting influence your performances?
**Lily Collins**: The setting is integral to the story. Barcelona’s nightlife is electric, and it shapes the characters’ moods and dynamics. The design by Frankie Bradshaw really transports the audience into this world, and it allows us to immerse ourselves in the flirtation and energy that the city embodies.
**Álvaro Morte**: Exactly! The quaint apartment feels like a character in its own right. It captures that quintessential Barcelona vibe, which enhances the chemistry between Irene and Manuel. The atmosphere adds a layer of authenticity to their exchanges; it’s in the laughter, the tension, and ultimately, the revelations.
**Editor**: As the night progresses, there’s a shift from lighthearted banter to deeper discussions. How do you navigate those transitions in your performances?
**Lily Collins**: It’s all about grounding the character in the moment. While initially, there are comedic elements, I allow Irene’s carefree facade to crack as deeper issues come to the forefront. Those transitions are crucial—they reveal her depth and create a compelling contrast.
**Álvaro Morte**: I touch on Manuel’s weariness as well. The playful banter is fun, but it also masks the undercurrents of tension regarding identity and pride. As we progress, it’s about striking a balance between the humor and the seriousness—those moments of clash are powerful and provide insight into who they truly are.
**Editor**: It sounds like a beautiful blend of humor and poignancy. Any memorable moments from rehearsals that stand out to you both?
**Lily Collins**: Oh, definitely! The playful mispronunciations of Manuel’s name became a running joke during our practices. Álvaro’s reactions are priceless and add to the fun of the character dynamics.
**Álvaro Morte**: And the chemistry we built during rehearsals really helped. Those moments of laughter made it easier to transition into the more serious aspects of our characters as we evolved together.
**Editor**: Thank you both for sharing these insights! “Barcelona” seems to promise not only humor but profound reflections on cultural identity and connections. We look forward to seeing you on stage!
**Lily Collins**: Thank you! We’re excited for audiences to experience it.
**Álvaro Morte**: Yes, thank you! We hope they enjoy the ride.
