William Luce’s Barrymore At The Whitefire Theatre

 

By Dean Happen

 

 

William Luce’s Barrymore, currently staged at the Whitefire Theatre in Sherman Oaks, offers a

poignant and compelling exploration of the legendary actor John Barrymore’s twilight years. This production, featuring Vito D’Ambrosio in the titular role and directed by Bryan Rasmussen, is a standout.

 

Set in 1942, the play imagines Barrymore rehearsing a revival of his acclaimed 1920 performance as Richard III—a production that, in reality, never materialized. This fictional framework allows the character to delve into reflections on his illustrious career, personal relationships, and battles with alcoholism. The narrative is structured as a two-charac- ter piece, with Barrymore interacting with his offstage stage manager, Frank, whose voice provides both guidance and comic relief.

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D’Ambrosio’s portrayal is nothing short of transformative. He doesn’t merely act as Barrymore; he embodies him, capturing the actor’s charisma, wit, and underlying sorrow. His performance is a masterclass in solo acting, conveying a spectrum of emotions that range from boisterous humor to deep-seated regret. The physical resemblance to Barrymore enhances the authenticity, but it’s D’Ambrosio’s nuanced delivery that truly brings the character to life.

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Director Bryan Rasmussen’s minimalist staging focuses attention squarely on D’Am- brosio’s performance. The sparse set—a rehearsal space with a few props—serves as a canvas for Barrymore’s recollections, allowing the audience to journey through his memories without distraction. Rasmussen’s direction ensures a seamless flow between past and present, reality and reminiscence.

Mitch Rosander’s voice performance as Frank, the stage manager, adds depth and levity to the production. His timing and tone provide a perfect counterbalance to Barry- more’s monologues, grounding the play and offering moments of humor that prevent the narrative from becoming overly somber.

The Whitefire Theatre’s intimate setting enhances the production’s impact. With just 84 seats, the venue fosters a close connec- tion between performer and audience, making Barrymore’s confessions feel personal and immediate. The theater’s acoustics and lighting design further support the mood, shifting subtly to reflect the character’s emotional states.

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Critics have lauded the production. Saman- tha Simmonds-Ronceros of NoHo Arts District praised D’Ambrosio’s performance, stating, “To spend an hour or so in the presence of John Barrymore is an absolute gift, and Vito D’Am- brosio is Barrymore. Totally and complete- ly. Without affectation or irony, he is utterly spellbinding as this wonderful, tragic man.”

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Barrymore is more than a biographical recount; it’s a meditation on the ephemeral nature of fame and the personal costs of artistic pursuit. It invites audiences to reflect on the dichotomy between public persona and private despair, offering a narrative that is both specific to Barrymore’s life and universally resonant.

For theater enthusiasts and newcomers alike, this production is a must-see. It not only showcases the talents of its lead actor and director but also serves as a testament to the enduring power of live theater to explore complex human experiences. Barrymore runs for a limited engagement, with perfor- mances on June 19 and 20 at 8 PM, and a matinee on June 22 at 3 PM. Tickets are available through the Whitefire Theatre’s official website: www.whitefiretheatre.com