Review: BARCELONA, Duke of York’s Theatre
Photo credit: Marc Brenner
Set in the vibrant atmosphere of Barcelona in 2009, Barcelona opens with what seems like a light-hearted heated encounter between an American tourist and a Spanish local. However, as their conversation deepens, it reveals profound themes of identity, patriotism, and vulnerability that expose the characters’ sharply contrasting world views. Under the direction of Lynette Linton and through Bess Wohl’s incisive writing, the production artfully balances humour with these weightier issues, all within the confines of a single apartment.
Lily Collins, in her West End debut, is magnetic as Irene—a seemingly carefree tourist with hidden depths. Known for her screen work, Collins makes an impressive transition to live theatre, delivering a nuanced performance that captures both Irene’s humour and underlying insecurities. Her portrayal of drunkenness is particularly striking—not through clichéd slurred speech but through erratic pacing and dynamic gestures that subtly reveal Irene's inner conflict. Collins’ use of a phone on stage adds another layer of realism; the audience is pulled right into her realistic conversation, revealing glimpses of her controlling relationship, one she is desperate to get out of but won’t even admit to herself. This scene builds to a powerful moment when Collins expertly portrays Irene’s panic attack, creating an intense emotional connection.
The bathroom becomes a source of both humour and tension, allowing Álvaro Morte’s character, Manuel, moments of unfiltered reaction when Irene disappears off-stage. With Irene sick in the toilet and the water unexpectedly turned off, Manuel’s exasperated yet understated reactions draw laughs and provide a momentary shift in focus entirely onto him, showcasing Morte’s skill in balancing comedy and intensity.
Álvaro Morte, also making his West End debut as Manuel, provides a powerful counterbalance to Irene. With calm humour and quiet intensity, Morte initially presents Manuel as an unflappable, grounded character. Yet, as the night progresses, he unveils Manuel’s deeper layers, moving seamlessly from wit to raw emotion. Morte’s portrayal reveals a character whose calm exterior masks profound grief and conviction, lending gravitas to every line. His performance is especially compelling as he contrasts Irene’s carefree outlook with Manuel’s hard-won world view, showing both charm and depth. The subtle shifts in Morte’s delivery add dimension to Manuel, allowing the audience glimpses into his inner struggles without ever veering into melodrama. During some of his most emotional moments, Morte’s thick Spanish accent occasionally causes a few words to be missed; however, his passion and sincerity makes up for any lost clarity, ensuring his emotions landed powerfully with the audience.
In a particularly poignant moment, Irene declares her pride in being American, only for Manuel to challenge her with, “How are you proud? To be proud means you have done something to be proud of—what have you done?” This confrontation cuts through Irene’s borrowed ideals, forcing her to grapple with the gap between her ingrained views and her personal identity. Morte’s delivery makes the moment resonate deeply, revealing both Manuel’s convictions and Irene’s tendency to lean on unexamined beliefs.
Frankie Bradshaw’s set design, enhanced by shadows of a woman dancing on the walls, creates an intimate atmosphere that reflects the characters' emotional journeys. Thoughtful lighting transitions the space from light-hearted to haunting, while Bradshaw’s costume design adds an unexpected layer of depth. In a climactic moment, Irene’s dress is torn—a visual cue that hints at Manuel’s own hidden turmoil and grief, symbolising a crack in his carefully held composure. This subtle yet powerful detail foreshadows a pivotal twist, revealing the depth of Manuel’s character and the weight he carries beneath his calm exterior.
One of the production’s most affecting scenes occurs when Irene confesses to a quirky habit: sitting on the couches of empty homes she’s selling, imagining herself hosting gatherings for invisible guests. Manuel seizes on this seemingly trivial detail, holding a mirror up to Irene and prompting her to confront her reality. This moment, delivered with Morte’s gentle yet piercing honesty, further emphasises the theme of self-deception and the contrast between lived experience and borrowed beliefs.
Wohl’s writing balances humour with gravity, exploring cultural identity, personal fulfilment, and ideological divides through natural dialogue that flows effortlessly from banter to intensity. In just 1.5 hours without an interval, Collins and Morte keep the audience captivated, their chemistry filling the minimalist set with emotional depth.
In a beautifully raw conclusion, Irene and Manuel strip away their facades, revealing something deeply human about themselves. Despite their differences, their connection offers a glimmer of understanding and, ultimately, a chance to save each other from their respective struggles. Lily Collins and Álvaro Morte deliver standout performances that elevate Wohl’s writing, making Barcelona an unforgettable theatrical experience. This 12-week run is a must-see—a masterful exploration of identity and connection that lingers long after the final bow.
***** Five stars
Reviewed by: Laura Harris
