★★★

“Greig’s encapsulation of the sandwich generation – elderly parent to care for and young children too – is a masterclass in empathy and subtlety”

There’s a sign on the wall on the way into the Donmar theatre warning patrons about the use of herbal cigarettes in the production. There is no sign pre-figuring the far greater traumas the audience is about to experience: the indignity of death, the intrusions of humiliating healthcare, the cruel tricks of a failing brain.

Little wonder then that daughter Bo is keen on a swift departure for Beth, her mother, who has suffered dementia of late, and debilitating strokes.

Bo frets about everything, always has done, so she’s extra keen to convey to the nurses that her actions are merciful and not, as they occasionally hint, cruel and self-serving. Indeed, this was her mother’s repeated wish – pills, pillow over the face, nil by mouth etc.

She was a firecracker in her day, indomitable and difficult, full of life – not this half-inhabited skeleton.

Writer-director Anna Mackmin mines her own experiences to inform a difficult piece that leaps back and forth through time to capture scenes from a fractious mother-daughter relationship.

There are significant problems with the play, but the casting decisions mitigate many. Tamsin Greig as everywoman Bo and Celia Imrie as the feckless bohemian Beth paper over many a structural flaw. They are superb. Funny and touching and bracing. Greig’s encapsulation of the sandwich generation – elderly parent to care for and young children too – is a masterclass in empathy and subtlety.

Bo is dowdy, unkempt and frazzled, scratching out a life in the grout between vast slabs of thankless obligation. Her mother – a peacock in her day – has spent years pointing out her daughter’s shortcomings to the point where Bo has seemly embraced the criticisms in a grim homage. And yet, occasionally Beth (never “mum”) is an inspiration too, a source of joy and laughter.

Fittingly, designer Lez Brotherston’s stage has the operatic hospital bed on a raised stage, surrounded by medical paraphernalia and appearing more like a courtly throne. A step down and we’re in Beth’s ramshackle cottage, firmly frozen in the free-loving 1960s. Here she keeps her loom and her woven artworks. A vast black backdrop fills in some gaps with scratchy projections.

Unfortunately, the play – as baggy as Bo’s “Greenham Common” cardigan – has nowhere particularly to go with this set-up and offers few revelations beyond the Ab-Fab dynamic of selfish mother and attendant child.

There’s a certain shocking delight watching Celia Imrie swear like a trooper or provide a play-by-play recitation of her sexual antics, but this is always going to offer a diminishing return.

Director Anna Mackmin has failed to press writer Anna Mackmin on some key questions. Is it worth two hours? What do we learn? Does the play need another few minutes in the oven to be truly ready?

Her script captures scenes from their life when Bo is six, 18 and off to university (needy mum is desperate not to be left behind), in her 30s, 40s and so on, as though Beth’s failing brain is compiling a highlights reel. But once we have seen one flashback, we have seen them all, and the absence of progress ramps up the need for mawkish sentimentality as filler.

The saving grace is experiencing Tasmin Greig close up in the Donmar’s intimate space. She manages to find grandeur in the gruelling mundane and it is compensation enough.

BARCELONA at the Duke of York’s Theatre

★★★★

“The performances are exceptionally strong. Collins is impressive as the loose cannon, unpredictable and unsure of herself.”

Two characters, a world apart, are thrown together in Bess Wohl’s play, “Barcelona”. The cultural divide is as gaping as you can get but our first glimpse of them sees them in an intimate, tongue-wrapping clinch, awkwardly fumbling in the semi-darkness of a plain apartment in Barcelona. As they break away from each other, she is far from tongue tied. Everything is ‘cute’. She has clearly had too much to drink, whereas he has had too much to think about. This is preceded by a burst of ill-fitting, dramatic music which is at odds with the tone of the opening scene. Yet we soon discover the inconsistency is deliberate as Wohl’s clever writing unfolds.

It is a deceptive piece. Seemingly shallow but concealing some dark waters beneath its surface. A surface riddled with metaphors and dramatic ironies once you get the knack of spotting them. Irene (Lily Collins) is an American, washed up in the Spanish city in an extended bachelorette party. Manuel (Álvaro Morte) has come from Madrid to stay in the apartment for reasons that become clear later. It turns out she was the one who picked him up in the bar – a kind of dare almost. Things have gone a bit further than she may have intended, but for now she is more than willing to go with the flow.

We start out not really caring. What is the attraction? Why have they come together? The initial carnal fumbling is sexless, and the reactionless chemistry leaves us cold. She is intensely irritating. He is incessantly irritated. After a particularly leaden faux pas, Irene exclaims ‘I hope I didn’t ruin the ambience’. For a moment we wonder where the ambience is that she is referring to. Yet – as the layers are chipped away, revelations appear bit by bit. Like that game in which another square reveals more of the picture. The more we cotton on, the more we engage. They are no longer caricatures but complex characters; a lack of motive or intention now replaced by twisted backstories that inspire sympathy.

The performances are exceptionally strong. Collins is impressive as the loose cannon, unpredictable and unsure of herself. Her innate paranoia and mistrust run deeper than the Rioja that she is knocking back. Clueless on the outside but clued up enough to sense that something is amiss. Morte gives a startlingly solid performance. Possessing a European no-nonsense savoir faire he appears carefree yet, when left alone for brief moments, his expressions betray a sinister danger. They are both their own wrecking balls and we wait for the self-destruction.

However, neither can quite hide the excesses of the text that, even at a slim ninety minutes, carry a little too much excess weight, while the dialogue could do with a quick work out. Manuel has less to say but perversely he says so much more, which is where Wohl’s writing works wonders as the larger arguments appear out of the subtle magic of small talk. There is a gorgeous moment when Manuel picks apart Irene’s declaration of being ‘proud to be an American’. In a dismissive and heartfelt swoop, Manuel issues a polemic that covers a landscape of imperialism, displacement, ancestry even touching on genocide. The politics that seep into the arguments manage to sit perfectly with the personal; while references to the al-Qaeda terrorist attack in Madrid take on a harrowing emotional quality.

Lynette Linton’s tight direction moves the action neatly from its long night’s journey into day, the passage of time wonderfully evoked by Jai Morjaria’s lighting and haunting use of shadows. As daybreak creeps through the side window, self-knowledge (for Irene at least) dawns with the realisation that maybe she knows nothing. A Socratic paradox that represents a kind of umbrella under which the characters try to shelter from their own conundrums. Outside the apartment window is Barcelona’s famous Basílica de la Sagrada Família. Building began in 1882, but it is still unfinished. It is a fitting metaphor. The play, ultimately, suffers from a lack of resolution. It feels like an episode of a much greater story. An utterly enticing instalment, nonetheless. Another paradox. By curtain call, we feel like we’ve had enough. Yet we are left wanting more.

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BACKSTROKE

★★★

Donmar Warehouse

BACKSTROKE

Donmar Warehouse

★★★

“Greig’s encapsulation of the sandwich generation – elderly parent to care for and young children too – is a masterclass in empathy and subtlety”

BACKSTROKE

Donmar Warehouse

Reviewed on 21st February 2025

by Giles Broadbent

Photography by Johan Persson

Previously reviewed at this venue:

NATASHA, PIERRE & THE GREAT COMET OF 1812 | ★★★★★ | December 2024

SKELETON CREW | ★★★★ | July 2024

THE HUMAN BODY | ★★★ | February 2024

LOVE AND OTHER ACTS OF VIOLENCE | ★★★★ | October 2021

BACKSTROKE

BACKSTROKE

BACKSTROKE

BARCELONA

★★★★

Duke of York’s Theatre

BARCELONA at the Duke of York’s Theatre

★★★★

“The performances are exceptionally strong. Collins is impressive as the loose cannon, unpredictable and unsure of herself.”