Barcelona, Duke of York’s Theatre Review

Reviewed by Annie for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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The popularity of celebrity castings is continuing its streak on the West End this year, with the debut performances of Lily Collins and Alvaro Mortre in Bess Wohl’s Barcelona. We’ve been spoiled this year with so many amazing names taking to the stage, and this is no exception. 

Wohl’s one act play focuses on who we aim to be, versus who we really are - and it cleverly delves into this idea following the lives of two strangers. The pair meet in a bar in Barcelona, who decide to go home together and explore each other’s bodies; but in turn come to discover a lot more about one another. 

The play starts with an abundance of witty dialogue, full of generic “one night stand” tropes, and has the audience laughing from the offset. However, it eventually diverts onto a path of deeper intent, moving towards a thriller rather than a comedy. 

Wohl’s writing is deeply interesting throughout and has an expertly timed pace from start to finish. Her writing is efficient, whilst still giving us a plethora of character development. However, it struggles to progress in a realistic manner which makes the eventual reveal feel a little rushed and confusing. The play starts as one thing and ends as another. It unfortunately doesn’t feel unified in its approach and feels almost as if it escalates too quickly. 

Collins is, as expected, a triumph. Having never seen her off-screen before, she dominates the stage and holds herself with such professionalism. Her character, an irritating drunk American, almost feels a little too close to her other works - but she plays it excellently, quickly standing her own as a stage performer as much as an onscreen siren. Her performance remains energetic and dynamic throughout and she captivates the audience from her very first line.

Morte is no doubt a talented actor - his stage presence exudes confidence. His character feels well-studied and masterfully understood, his portrayal is entirely authentic and honest. It’s hard not to sympathise with him as his character progresses, and you entirely believe his every word. 

The pair’s chemistry on stage is a joy to watch, and their progression is captivating. Starting as drunken lovers, and ending as caring yet damaged individuals,it’s hard not to be swept up in their story. Despite the story lacking a realistic pace, the pair perform with such authenticity, it is an enjoyable performance across the play. 

With Morte never leaving the stage, and the play taking place in one scene, across one evening - it is an intimate affair from the very start. It is an interesting performance to be a part of, and many of the themes seem a little too large for the limited timeframe that they're approached within.

Although I wouldn’t rush to return to this show, the performances on the stage are masterfully curated, and it was a thought-provoking evening for many reasons.

At Duke of York’s Theatre until 11 January 2025

★★★