Anyone who has ever witnessed a bunch of ladies out on a hen do (“bachelorette party,” for our US friends) knows that these events can get pretty crazy, and the ladies present will often get irresponsibly intoxicated. One or two might even go off with, say, a handsome stranger to their apartment for some – hopefully – good times! This is where Barcelona opens, with a tall, dark-haired Spaniard (Álvaro Morte) and an effervescent, clearly drunk young American woman (Lily Collins), who obviously just met, passionately kissing as they enter the man’s apartment, and the woman declares everything she sees “so cute!”
What begins as a seemingly light, post-bar encounter quickly takes a turn, with Lily Collins bringing a frenetic, hyper energy to her character that’s hilariously unrestrained in her drunkenness. Collins is well-known as Emily in Paris, all confidence and charm, but here she’s something else entirely, capturing the wild unpredictability of a woman on the edge. Her performance is vibrant yet nuanced, revealing cracks beneath the bubbly surface as she gradually sobers up and hints of something deeper, even painful, start to show. It’s a captivating, intimate portrayal that makes you lean in, eager to know what lies beneath.
Álvaro Morte, who gained fame as the Professor in Money Heist, complements her beautifully, exuding a quiet, simmering intensity. His character is calm yet unsettling, his every movement deliberate, making you question his motives from the start. The chemistry between Collins and Morte is fantastic, but not in a showy way – it’s restrained, a dance of words and glances that keeps you hooked.
Director Lynette Linton, who most recently directed Shifters at the same theatre (my review here), handles the ebb and flow of tension with expert precision. The set, designed by Frankie Bradshaw, captures the essence of a small Barcelona apartment with incredible attention to detail – Bradshaw even scouted actual Barcelona apartments to ensure authenticity. It’s a warm space that gradually takes on a more claustrophobic feel as the story unfolds.
Lighting designer Jai Morjaria and video designer Gino Ricardo Green add subtle yet powerful layers to the storytelling. Before the show even begins, delicate shadows play across the walls, hinting at something just out of reach. These shadows remain light and almost ethereal, and as the narrative develops, their significance becomes clear. The atmosphere they create is haunting, yet understated, a beautiful example of design work that quietly enhances the story without overpowering it.
Written by Bess Wohl, Barcelona doesn’t follow the path you expect. It blends humour and moments of light-heartedness with raw emotion and depth, without ever giving away too much. It’s a psychological and emotional journey that asks you to read between the lines, with performances that feel honest and raw rather than flashy. The result is a beautifully crafted night at the theatre that lingers with you, not because of any grand gestures but because of the whispered truths just beneath the surface. You should grab a friend and your passport (or at least a ticket for the show), and head to Barcelona before the all too short run finishes on the 11th January 2025.
Book your tickets at www.barcelonatheplay.com
Words by Nick Barr
Photography by Marc Brenner
