A drunken girl clad in a striking white jumpsuit stumbles through the doorway of a Barcelona apartment, her lips locked in an impassioned kiss with the handsome stranger she has just met at a lively bar. Or perhaps it was he who swept her off her feet. Regardless, this engaging scene sets the stage for Bess Wohl’s new play, which could aptly be subtitled *Emily in Spain*.
At its core, the production’s allure lies in the star power of Lily Collins, widely known for her role in Emily in Paris. This marks her ambitious stage debut alongside the talented Spanish actor Álvaro Morte, famed for his portrayal in the gripping Netflix series Money Heist, who is also making his inaugural appearance on a UK stage.
Under the adept direction of Lynette Linton, their captivating performances serve as the primary draw for *Barcelona*. Both actors exude undeniable charisma, effortlessly drawing audiences into a narrative that begins as a quintessential romantic comedy, subtly veering into moments of sentimentality before emerging on the other side as a poignant exploration of human connection. It’s an unconventional structure, yet somehow it resonates deeply.
In the play, Irene (Collins) is introduced as an American visiting Barcelona for a hen weekend, proudly accessorized with a novelty whistle shaped like a penis hanging around her neck. Manuel, whom she affectionately insists on calling Manolo, is depicted as tall, dark, and undeniably handsome, yet an unexplainable obstacle prevents their passionate encounters from progressing beyond a few clumsy drunken kisses.
The apartment where their rendezvous takes place is vividly brought to life by Frankie Bradshaw’s evocative design, filled with weathered furniture and bathed in soft, fading light, creating a warm yet melancholic atmosphere as the space is on the brink of demolition. Despite her wild child antics and wide-eyed innocence as a newcomer, it becomes evident that Irene harbors a deeper discontent within. When Manuel unexpectedly interrupts her spirited dancing by playing Puccini’s “O Mio Babbino Caro,” the two share a moment of reverent silence, culminating in Irene’s heartfelt exclamation that it is “precioso,” the most “precioso thing in my entire life,” tinged with a mournful undertone.
As the narrative progresses, their personal stories unfold, intricately intertwining and altering the dynamics of their relationship. Wohl’s ability to weave together the political and personal narratives shone in her previous work, *Camp Siegfried*, which delved into the complexities of love in a Nazi youth camp last year at the Old Vic. Here, she again balances these elements, focusing more profoundly on the characters themselves than on the broader historical context that surrounds them.
While avid readers of thrillers may predict some plot twists, they possess an unexpected quality that maintains intrigue without delving too deeply into spoilers. These narrative turns are expertly balanced by Linton’s sensitive and understated direction, enhancing the performances that deftly navigate between comedic levity and emotional weight without losing their guiding clarity.
Collins emerges as a surprising talent, embodying the lively spirit of Emily while showcasing a remarkable ability to evoke stillness and introspection. As she listens to Manuel’s musings about love, her demeanor shifts from fidgeting apprehension to rapt attention, absorbing the nuances of his revelations that gradually unearth deep-seated sadness. Discussing “the wedding industrial complex,” she brilliantly intertwines dreamy hopefulness with a stark sense of despair, reflecting the inner turmoil of a Denver woman grappling with the potential fragility of her beliefs.
Morte’s performance complements Collins’s, as he skillfully navigates his character’s frustration over Irene’s recurring neuroses and conversational patterns, allowing the more profound sorrows of his own backstory to surface with increasing intensity.
Though the production may feel oddly traditional in its approach, eschewing earth-shattering revelations or groundbreaking revelations, it maintains an engaging warmth that captivates audiences. It delivers gentle pleasures that linger long after the curtain falls.
**Interview with Bess Wohl, Playwright of *Barcelona***
**Interviewer:** Thank you for joining us, Bess! Your new play *Barcelona* has garnered quite the attention, especially with the star power of Lily Collins and Álvaro Morte. What inspired you to set this story in Barcelona?
**Bess Wohl:** Thank you for having me! Barcelona is such a vibrant city, full of life and culture, and it felt like the perfect backdrop for a story about connection and romance. The city’s energy mirrors the ebb and flow of relationships, making it an ideal setting for the characters’ journey.
**Interviewer:** You mentioned the characters, particularly Irene and Manuel. Can you tell us more about their dynamic and the challenges they face?
**Bess Wohl:** Absolutely. Irene represents a typical American tourist—fun, carefree, but also lost in some ways. Manuel, on the other hand, is a local with a past that complicates their budding romance. They share an electric chemistry, yet there’s an underlying tension that prevents them from fully connecting. This exploration of love and the barriers that can arise is central to the play.
**Interviewer:** Your work often blends the personal with the political. How does this motif play out in *Barcelona*?
**Bess Wohl:** I believe that our personal stories are often a reflection of larger societal issues. In *Barcelona*, you’ll see the characters’ romantic struggles intersect with themes of identity, belonging, and the complexities of modern relationships. As their stories unfold, it reveals how the broader context of culture and politics influences individual lives—something I strive to highlight in all my works.
**Interviewer:** The atmosphere you’ve created in the play is described as warm yet melancholic. Can you elaborate on the significance of the setting and design?
**Bess Wohl:** The apartment in which the story takes place is almost a character in itself. It represents both the fleeting nature of youth and adventure, along with the weight of reality that comes crashing in. Frankie Bradshaw’s design captures that beautifully, and the sense of impending demolition reflects the transient experiences of the characters. It’s a metaphor for both their relationship and the choices we all face in life.
**Interviewer:** With *Emily in Paris* fans eager to see Lily Collins in a different light, what do you think audiences will take away from her performance?
**Bess Wohl:** I think audiences will be pleasantly surprised by her depth and range. Lily brings a unique charm and vulnerability to Irene that truly resonates. This role challenges her and showcases her growth as an actress. I hope audiences leave with a deeper understanding of love’s complexities and the courage to embrace their own stories.
**Interviewer:** Lastly, what do you hope audiences will reflect on after watching *Barcelona*?
**Bess Wohl:** I hope they contemplate what it means to connect with others while acknowledging the messiness that comes with it. Love isn’t always straightforward, and I want them to walk away feeling that it’s okay to be vulnerable and imperfect in their relationships. Ultimately, it’s about finding beauty amidst the chaos.
**Interviewer:** Thank you so much for your insights, Bess! We can’t wait to see *Barcelona* come to life.
**Bess Wohl:** Thank you! I can’t wait for everyone to experience it.
