Picasso melds high, low humor
By Mark Collins, Camera Theater Critic
May 7, 2006
LAFAYETTE — Steve Martin's comedy "Picasso at the Lapine Agile" puts three giants of the 20th century — Pablo Picasso, Albert Einstein and a surprise visitor — together for an evening. Throughout the 90-minute play, set in a fictitious French bar in 1904, Martin creates a sense of anticipation: It was the turn of the 20th century and the world was on the verge of great things.
Picasso was on the verge of painting his cubist landmark "Les Demoiselles d'Avignon." Einstein was on the verge of introducing his groundbreaking theory of relativity.
The audience during Monday night's near-perfect production of "Picasso" at Lafayette's cozy Mary Miller Theater was, at times, on the verge of tears — from laughing. For certain, we quickly fell into anticipation, awaiting the next riotous punch line.
The production, put on by Theater Company of Lafayette and directed by Ian Gerber, is the funniest show I've seen this year. The actors — made up of TCL regulars and newcomers alike — play their roles with an infectious sense of abandon and impressive display of comic timing.
It made for one of those rare evenings of theater where the cast had the audience riding a comic wave. Eventually, comprehension of and cackling responses to lines were crashing through the theater on top of each other — the show got so deliciously funny, we were cracking up before we understood exactly what the lines meant.
Martin's play was first produced professionally at Chicago's Steppenwolf Theatre in 1993, and even though it was popular then, in retrospect, it was ahead of its time. Now that the 20th century is over and done with, "Picasso at the Lapine Agile" seems to work even better than it did then.
It's about the nature of talent and genius, and the relative nature of an individual's perspective. It's also about relationships between the sexes and the 20th century's fascination with mass marketing. Obviously, the play's themes ring truer than ever.
When a muted, pastoral painting hanging on the bar's wall draws four different opinions, one character wonders, "How many opinions can the world hold?" He continues to claim an opinion makes someone significant, fascinating even, which, with the proliferation of personal blogs on the Internet, brings new relevance to the lines of dialogue.
But the fun is lost if the members in the TCL production don't understand Martin's unique mix of highbrow and lowbrow humor, where informed banter about physics and potty jokes intermingle hilariously. Rest assured, the cast understands and delivers.
Patrick Collins' Einstein exudes a quirky, energetic charm, while Matt Ellison, as Picasso, is all fiery charisma. Bill Graham is a hoot as the flamboyant, and brainless art dealer Sagot, while Sally Nell Clodfelter (the bar maid Germaine) and Alexandria St. Aubin (Picasso's love interest Suzanne) bring sizzle and smarts to the stage. Gil Shalit (as the bar owner, Freddy), Chris Newby (the goofy inventor Schmendiman), Stuart Goldstein (Gaston), Evan Marquez (the surprise visitor) and Cathy Ode (a zany female admirer) are tremendous, as well.
Those who venture to the Mary Miller Theater for a peek at this "Picasso" should anticipate a show that's as wildly whimsical as it is smart — often at the same time.
Contact Camera Theater Critic Mark Collins at (303) 473-1369 or theater@dailycamera.com