What would happen if the brilliant young artist, Pablo Picasso, were to meet the brilliant theorist, Albert Einstein? This is one idea presented by playwright Steve Martin in his hilarious play, Picasso at the Lapin Agile. The year is 1904; the location is a legendary bar in Paris. While the audience watch the strange goings-on at the bar, we feel a part of the scene due to director Dana Case's staging. Often the actors are referring to the audience as just another visitor to the bar. Nice touch.
One can only speculate what would transpire at such a meeting of the two luminaries. Martin, with his offbeat sense of humor, creates a delightful and almost plausible reality. Picasso (Tim Parker) has just the right amount of artistic flare. Einstein (Tom Zohar) has a laid-back theory he feels will change the world. The interplay between these two actors is a delight to watch.
Their characters are very young men about to make their mark; marks that will change the world at the turn of the century. But now they still have their eyes on the
ladies and a penchant for a tasty libation. Zohar plays nerdy and Parker has an artist's flair, but not overdone.
A story about a couple of young men would not be complete without some of their friends, hangers-on, girlfriends and bar patrons. They include that affable Bartender/Owner Freddy (Brian Abraham), who is always ready with another drink. We meet an older gentleman, Gaston (Eddie Yaroch), always with pearls of wisdom. There is the lovely Germaine (Kristianne Kurner), Freddy's waitress and wife. She is absolutely the perfect waitress in a sociable bar. Nineteen-year-old Suzanne (Amanda Morrow) graces the proceedings enticingly. Sagot (Sandra Ellis-Troy) is Picasso's art dealer.
It seems every bar has at least one pompous person. Here it is Charles Dabernow Schmendiman (Kyle Lucy) who struts with style. His character is a bit over-the-top, in part thanks to his stylish costume.
Amanda Morrow returns as the very elegant Countess. She impresses all and leaves only to return, seemingly moments later, in another costume and wig as a female admirer. The beauty of her three characters is that they're completely different with no intermixing of the style of speaking or physical mannerisms. Finally, a strange visitor (Greg Wittman) enters. We all recognize him by his gestures, which define him the moment he walks into the bar.
Ashley Jenks' lighting design works well. Tim Wallace's scenic design appears to be quite authentic. He even gives the audience an amusing twist, which sets an edge on the evening. Upon entering the theater, one sees the exterior of the bar, which is on a perpendicular wall, projecting towards the audience. This effectively blocks the view of the bar for about 20 or 30 seats. Hmm, strange design. After we are seated, however, a stage hand pivots the wall opening up the bar to a full view for all.
Mary Larson's costumes feel exactly right for the period. Seeing Tom Zohar's very correct suit is almost worth the price of admission. Bonnie Durben out-did herself in the collection of props for the production. Adam Brick's sound design is nicely unobtrusive, just right for the show.
One of the beauties of Picasso at the Lapin Agile is the intellectual wit; the humor requires a more sophisticated audience to fully appreciate the subtle nuances.
Picasso at the Lapin Agile is best described by the playwright's explanation:
"Focusing on Einstein's Special Theory of Relativity and Picasso's master painting,
"Les Demoiselles d'Avignon," the play attempts to explain, in a light-hearted way, the similarity of the creative process involved in great leaps of imagination in art and science." It's also an extremely enjoyable 88 minutes and yet another winner for New Village Arts.
