It’s refreshing to witness an original straight play by a relatively unknown writer making its debut in the bustling West End, despite the fact that the play often feels flimsy and some what outdated. The production largely serves as a showcase for Lily Collins, who is stepping onto the theatrical stage for the very first time. However, the star of *Emily in Paris* impressively navigates her challenging role as Irene, a carefree and somewhat oblivious American blonde who drunkenly stumbles into the life of Manuel, a charming Spaniard, after they meet during what turns out to be her own wildly celebratory hen party. The gender dynamics presented are questionable at best: he appears eager for a fling, while she embodies the archetype of an irritating, giggly hot mess. Most of her disjointed dialogue hilariously begins with “wait,” playfully mispronounces his name as Manolo, and at one point, finds herself throwing up in the bathroom, which adds a layer of absurdity to the encounter.
Barcelona, the brainchild of American playwright Bess Wohl, made its debut in 2012, and its age is evident throughout the performance. The contentious legacy of the Iraq War is a specter haunting the narrative, igniting the initial friction between this undeniably mismatched couple. Their conversation veers into a clumsily staged debate over the war’s morality, with her unreflective American patriotism colliding against his visceral anti-American sentiment. However, this lack of dramatic tension enveloping the ideological sparring suggests that the play looks for depth beyond mere political commentary. Instead, it derives its emotional weight from a clever unfolding of revelations that gradually reshape our understanding of each character as the narrative progresses, transitioning from a lighthearted drunken encounter to an exploration of deeper existential dilemmas.
Collins genuinely shines as Irene, exuding a bubbly naivety while managing to uncover the fragility of a woman who, at the age of 35, has yet to confront her unsatisfactory life choices. As the plot thickens, complications arise: Manuel is embroiled in an estrangement with his wife, while Irene is on the verge of marrying a morally upright, somewhat insipid man in Denver. This man hails from a background as conventional as her own, yet she awkwardly begins to recognize, for perhaps the first time in her life, that she doesn’t love him. There is something uniquely poignant about her admission that her greatest pleasure comes from sneaking into the homes she sells as a real estate agent, momentarily stepping into the lives of others and pretending for a few hours that those alternate realities belong to her.
Alvaro Morte, acclaimed for his starring role in Netflix’s *Money Heist*, adeptly navigates a character that, in 2024, is layered with complexities reminiscent of MeToo-era concerns. He skillfully balances sexual charisma with an occasional hint of ambiguous threat, all the while sidestepping the potential pitfalls of exploiting the pronounced power imbalance between himself and Irene, which lends an intriguing depth to their interactions.
**Interview with Theatre Critic, Sarah Thompson, on *Barcelona* Debuting in the West End**
**Interviewer:** Thank you for joining us today, Sarah. Let’s talk about *Barcelona,* the new play featuring Lily Collins and Alvaro Morte. What were your first impressions of the production?
**Sarah Thompson:** Thanks for having me! My first impression was definitely mixed. It’s exciting to see an original play by a relatively unknown writer like Bess Wohl making its way to the West End. However, I did find the execution felt somewhat flimsy and a bit outdated.
**Interviewer:** Interesting. You mentioned that the play serves as a showcase for Lily Collins, who makes her theatre debut. How did you think she handled her role as Irene?
**Sarah Thompson:** I was pleasantly surprised by her performance. She portrayed Irene—a carefree, oblivious American—effectively. There’s a certain charm to her character, even though she often appears as a giggly hot mess. Collins navigates the role with a mix of comedy and sincerity, especially in those moments that start with “wait,” which adds a delightful absurdity.
**Interviewer:** The dynamic between her character and Alvaro Morte’s Manuel seems to be quite nuanced. What are your thoughts on their relationship presented in the play?
**Sarah Thompson:** The relationship is definitely complex and carries questionable gender dynamics. Manuel seems eager for a fling, while Irene is portrayed as slightly oblivious to the situation. Their banter sometimes highlights the cultural clash, especially when the dialogue turns into a somewhat clumsy debate over the Iraq War’s morality, which brings in a deeper irony considering Irene’s unreflective patriotism.
**Interviewer:** How do you feel the play tackles themes related to its setting and the background of the characters?
**Sarah Thompson:** Absolutely, the setting in Barcelona and the haunting legacy of the Iraq War create a backdrop that feels almost like a character itself. The way it sparks friction between Irene and Manuel adds depth, even if the conversations can feel somewhat disjointed and dated. It’s almost as if the play attempts to mesh a light rom-com atmosphere with serious undertones, but sometimes it falters in getting that balance right.
**Interviewer:** Do you think audiences will connect with this production?
**Sarah Thompson:** I believe there will be a mixed response. While some may appreciate the humor and the star power of Collins and Morte, others might find the play lacking depth and freshness. It certainly has its moments, but whether it resonates widely is hard to predict. It’s a unique offering for the West End, though, and it will be interesting to see how it evolves during its run.
**Interviewer:** Thank you, Sarah, for your insights on *Barcelona*. It certainly seems like a production that sparks discussion!
**Sarah Thompson:** My pleasure! Always a joy to discuss theatre, especially one as intriguing as this.
