BARRYMORE by William Luce, directed by Gene Saks, with Christopher Plummer and John Plumpis. Presented by Kevin Albrecht, Steve Kalafer and Peter LeDonne at the Elgin Theatre (189 Yonge). Runs to March 9. $55-$120. 416-872-5555, barrymoretheplay.com. See listing. Rating: NNN
“Hello, my name is Christopher Plummer, and I’ll be appearing at this comedy club for the rest of the month. DVDs of my movies are available in the lobby. And please tip your wait staff well.”
Of course, Plummer doesn’t get to speak those words, but he might as well in Barrymore, a jokey and shallow show about the legendary John Barrymore that’s essentially an acting showcase for a star with solid classical training and decent comic instincts.
Plummer (who knew?) nails absolutely every joke, most of them having to do with booze, sex, show business and getting older. If he has a hard er time getting to the heart of his character, well, blame playwright William Luce.
The script’s conceit is that Barrymore, matinee-idol-turned-Shakespearean-thesp, is attempting a stage comeback in the role that made peo ple take him seriously: Richard III. But he’s a has-been alcoholic who’s paying alimony to four wives (each of whom gets at least one dig) and has unresolved issues with his dead parents (hated his dad, loved his mum) and famous siblings Ethel and Lionel.
Helped and sometimes chided by the offstage voice of a prompter (John Plumpis), Barrymore weaves in and out of his life story, a prop or line of dialogue recalling another anecdote or soliloquy (of course, impeccably delivered). At times, he can’t recall where he is at all.
Occasionally, the script gives glimpses of a better play. A line about the audience as a devouring monster suggests the love-hate relationship many performers must have with their fans. But there’s no narrative or emotional arc. We never learn what’s at stake for the man and, for all the talk about fame and fortune, never get a sense of the personal and career highs and lows he must have experienced. Nor is there – despite a line about the time being three months after the attack on Pearl Harbor – much in the way of social context.
But let’s face it, you’re going to see Plummer, who in his early 80s remains as vigorous, spry (act two has him cavorting around in a pair of tights) and focused as ever. It’s a shame he’s not telling his own life story, which must be as full of drink, triumph and heartbreak as this one.
glenns@nowtoronto.com
