Christopher Plummer in "Barrymore" at Toronto's Elgin Theatrephoto by Cylla von Tiedemann
Play at a glance: Christopher Plummer returns to the almost-solo show that won him a Tony in 1997, playing his self-destructive acting hero, the late, great John Barrymore. In William Luce's script, Barrymore, troubled "clown prince" of the royal American acting family best known now for his granddaughter Drew, attempts a late-career return to a past stage triumph as well - as if a legendary actor playing an legendary actor wasn't meta-theatrical enough. While Barrymore re-rehearses his Richard III - or rather doesn't re-rehearse Richard III - with an unseen prompter (John Plumpis), the alcoholic actor relives a larger-than-life life overstuffed with wives and whiskey as his mind and will to perform slips away.
First impression: Though Plummer is now more than 20 years older than Barrymore was when he died in 1942, his spry, sharp performance is a convincing argument that 80 is the new 60. His Barrymore is full of piss and vinegar - a vulgar expression he'd no doubt delight in whipping out in polite company -as he reminisces about his off-stage antics and tells dirty-old-man jokes. Though Luce's script doesn't have much of an arc to it, Plummer's affection for this self-destructive scoundrel who worked his way through four wives eventually rubs off - even if we aren't, ultimately, moved very much by the more sobering parts of his story.
Highlights: "The good die young, because they see it's no use living if you have got to be good," is one of Barrymore's quips. Well, be thankful Plummer has lived a moderately more moderate lifestyle - he slips back into Barrymore's tights with ease and delivers on his characteristic charismatic mix of wit and bravado. With watery eyes and glistening lip, he gives a staggering comic performance, both literally and figurative, with the occasional melancholy undertone.
The nitpicks: Luce's imagined scenario doesn't always stand up to scrutiny. The short, staccato script circles around and around without ever really digging particularly deep - it's a stand-up routine, punctuated by showbiz gossip that only sounds grander than what's on TMZ today because back in the day they were called "sanatoriums" rather than "rehab clinics". And yet, Plummer turns this clutter into a jungle gym for him to swing about on - the only bars he misses are when he tries to reach for some under-earned emotion at the end.
Audience instant reaction: Hail Caesar. A thunderous ovation.
Critic's instant reaction: Three and a half stars (rating subject to change - for full review, see Tuesday's Globe and Mail)
Post-show questions for dinner or drinks: Which of Plummer's great roles would you like to see him revive in his late career? Who will play Christopher Plummer in a one-man play about him 40 years from now? Who will be able to?