Review of ‘Barcelona’: “Rambling by Las Ramblas”

Netflix stars Lily Collins and Álvaro Morte tread the West End boards in this new play exploring the lengths of love in its many forms. Guillermo Nazara shares his views on the show, to let us know it this romantic comedy taking Emily out of Paris manages to heist the heart.

O mio babbino caro… Puccini’s operatic people-pleaser seems to have become a new standard for modern, mellow-tasting drama. Simple but enchanting. Petite in form, but grand in sentiment. The piece manages to serve its purpose – whether that is either to enchant a sweet-toothed audience, or to win over that weekend crush you just bonded with ten shots ago; and with whom you couldn’t wait to continue your conversation back home, simply because the line in the toilet was way too long (and it was not the kind you were hoping for either).

The use of the melodious Gianni Schicchi aria is not as banal as it may look, though. There’s some meaning hiding behind what, at first, merely sounds like the biggest cultural cliche ever made: a pretentious European flaunting his I-know-better attitude, trying to educate the inherently stupid (and offensively depicted) American tourist. Barcelona is, in fact, a work of archetypes – in every possible sense of the word. Written by Bess Wohl, the plot revolves around two strangers bumping into each other at a night bar. Some harmless flirting will lead to a trip to the local’s flat – and in between more casual playfulness (and some rather graphic toe-licking), something else will click; something that neither of them could have ever expected, but that will change the course of their lives for good (I know where you’re going – just stop it!).

A premise that, in all fairness, boasts a sizable deal of potential, it comes as a much larger disappointment to see how every opportunity to bring significance and strength into the narrative are continuously ignored. Lacking coherence in style (and consequently, an identity as for the sort of story it’s trying to tell), the plot is packed with unnecessary elements that, instead of adding up to its rhythm or evolution, constantly opt to divert it into adjacent paths sending it back to square one. There’s exposition, after exposition, after exposition. And it’s only by the very end that the true conflict finally unravels. But by that time, we have already withdrawn our investment into the characters.

Surprisingly enough, there could still be a chance for the script to work (to some extent) even if those flaws were left intact. Yet, the dialogue doesn’t help redeem its almost inert effect, most sadly. Full of too many overused devices (with practically every joke being extremely predictable, as well as the lines feeling slightly unnatural and stereotypical), it’s the absence of profundity all through the account that conduces to its rather static outcome. There are so many themes that are hinted, but none of them explored. And as result, we’re just handed over a collection of shallow attempts that can neither give wit or acumen to a tale that already struggles to keep any interest.

Starring Netflix celebrities Lily Collins (Emily in Paris) and Álvaro Morte (Money Heist), the play’s structure as a two-hander puts their performances on the spot (no pun intended) more than in any other montage. Unfortunately, though, none of them are able to gleam under it – too often, striving to deliver sufficient verity and insightfulness in their interpretations, and above all, incapable of carrying much emotion; let alone, chemistry. Some credit can still be given to Collins, who admittedly comes up in a mildly better position. Yet, her over farcical approach to the role turns out compromising her likability – accomplishing some entertaining qualities, but on the whole feeling detached and, wistfully, unmemorable. 

Bringing up an enticing subject, but regrettably endeavouring to make it thrive, Barcelona sets up the basis for an amusing jaunt enhanced with some elements of pathos and thoughtfulness. However, it relies too much on the prospects of its promise, forgetting to actually do the groundwork that could (and would) ultimately make it happen. A full revision of the material is mandatory, in this case, to allow its tale to properly unfold – and eventually, materialise into something more solid than the vaporous content it’s only able to convey as of now. It may take us on a trip down to sunny Spain, but it’s far from embarking us on a theatrical journey.

All pictures credit to Marc Brenner.

Barcelona plays at London’s Duke of York’s Theatre until 11 January. Tickets are available on the following link.

By Guillermo Nazara