Lily Collins is being supported by husband Charlie McDowell after her latest appearance in West End play Barcelona – after the show failed to impress critics

Lily Collins was supported by husband Charlie McDowell as she left London’s Duke Of York’s Theater after her latest performance in Barcelona on Thursday.

The Emily In Paris star, 35, who was making her West End debut in the show, wrapped up warmly in an oversized teddy bear coat and scarf as she stopped to sign autographs.

Still wearing a gray baseball cap, Lily seemed to be in good spirits as she flashed a big smile.

Meanwhile, film director Charlie, 41, who married the actress in 2021, wore a padded orange jacket and knitted beanie as he carried his beloved wife’s bags.

The play, which stars Emily as a woman who embarks on a one-night stand during a hen’s night in the Catalan capital, has so far failed to impress critics – with The Independent says “Emily should have stayed in Paris”.

Lily Collins, 35, was supported by husband Charlie McDowell, 41, as she left London’s Duke Of York’s Theater after her latest appearance in West End play Barcelona on Thursday

The Emily In Paris star, who was making her West End debut in the show, stopped by to sign autographs

Annabel Nugent wrote of the two-hander, in which she stars opposite Money Heists’ Alvaro Morte: “The star of Emily in Paris makes her West End debut in a play about another American abroad – but its contrived plot means this tale of two hapless strangers fails to to make an emotional impact”.

While Tom Wicker said in his two reviews in The scene: “Emily in Paris’s Lily Collins makes her West End debut in this contrived, cliché-filled play”.

In the meantime The GuardianChris Wiegand, who also gave two stars, branded the play “dull” and “strangely flat”.

Lily and Álvaro star in the West End show for 12 weeks until 11 January 2025.

Before making her debut in the play last month, Lily told that Telegraph: ‘I think one of the first things I said to you (Álvaro) was, “OK, I just want to be very honest, I’ve never done this.

“I’m so excited, but I’m also terrified – in the best way – and I want you to know that there will be moments when I’m stressed, I’m worried, I’m nervous, I I’m going to doubt myself” .

Barcelona aims to keep the audience guessing and explore the fantasy of who we pretend to be, versus the truth of who we are.

Set in 2009, late at night in Barcelona, an American tourist (Lily) goes home with a handsome Spaniard (Álvaro).

Lily wrapped up warm in an oversized teddy bear coat and scarf which she layered over a brown tracksuit and sneakers

The actress jumped into the back of her chauffeur-driven car

The play, which stars Emily as a woman who embarks on a one-night stand during a hen’s night in the Catalan capital, has so far failed to impress critics

The play is a two-hander and stars Emily alongside Money Heists’ Alvaro Morte

The Spanish actor also braved the cold weather as he met fans outside the theatre

One reviewer said “Emily should have stayed in Paris” (Lily pictured during a curtain call last month)

What begins as a carefree one-night stand becomes a high-stakes clash of intent and desire, as the personal and political intertwine

Lily and Charlie celebrated their three-year wedding anniversary in September with the stunner sharing a tribute to him in a gushing Instagram post.

Congratulations to the man who makes me laugh harder than anyone else. Three years in your arms has been the greatest gift, wrote the actress.

“Barfaced and in a basic t-shirt you make me feel like the most special person on the planet. I adore you @charliemcdowell. More than I know how to say.

“Here’s to countless incredible moments together (plus twinning photoshoots). And to think, the best is yet to come…’ she said at the end of the heartfelt post.’

Barcelona: What are the critics saying?

Daily Mail

At just 100 minutes, the play takes too long to make us care about these two characters. But when the plot finally thickens and both reveal their much more interesting selves, we finally become involved—and increasingly tense.

“Barcelona isn’t perfect: it’s too much telling and too little showing. But it becomes a play about learning to live again when you think it’s all over.

The Guardian

Rating:

“The stars of Emily in Paris and Money Heist join forces for a strangely flat drama that mixes suspense, comedy and politics”

“But in Lynette Linton’s production, neither the suspense nor the humor hit, the mix often more awkward than unsettling. The biggest of a handful of plot revelations lack emotional impact and don’t shed so much light on past events as to make them distractingly implausible.’

The Independent

Rating:

The ‘Emily in Paris’ star makes her West End debut in a play about another American abroad – but its contrived plot means this tale of two hapless strangers fails to make an emotional impact.

Moments intended as gut punches land with a feather-light touch; monologues are heavy on exposition but lack the emotional scaffolding required to support them. When the sun rises and Manuel finally confides in Irene his terrible secret, it’s too little too late to care.

The scene

Rating:

Lily Collins from Emily in Paris makes her West End debut in this contrived, clichéd play.

Collins does well to soften the edges of a character who remains fundamentally annoying, even after we learn more about her.

The Times

Rating:

It’s really brave of the daughter of rock star Phil Collins to take the plunge in the West End. The problem is that her character, Irene, is mostly so insufferably stupid that you struggle to see how anyone could bring her to life.

Sunday Times

Rating:

This one isn’t quite right, but there’s plenty to enjoy along the way. Collins once again plays a Midwesterner who breaks away from his home life on a trip to Europe. She again manages the comedy, but this is grungier terrain.

in News

Rating:

Collins’ remarkable stage debut had the audience holding their breath in reverent concentration”

These are among the best 90 minutes of theater I’ve seen all year and the applause at the end of the play went on for so long that Collins began to look sheepishly embarrassed.