Plummer commands the stage as easily and firmly as Barrymore must have. He makes us believe that Barrymore would indeed, as he tries to reach deep into his past and revive Richard, keep recalling his wives or breaking in to sing a pop song of the day.
Erik Canuel, who directed and adapted the work, employs a host of cinematic techniques to enhance Plummer's spell-binding turn as a crotchety has-been who, in 1942, attempts to revive his career by playing Richard III.
Mr. Plummer stumbles beautifully, poignantly and often, leering and searching through a haze of memory or, with concern edged with panic, calling for "a line, a line" much as Richard III calls for a horse.
God, I love Plummer's performance -- the twiddling fingers, the tipsy sway of the head, the reverberating roar, as well as the pathos of a man who can't stop acting long enough to hear the cry of his own soul.