by Jess Hoffman
The premise of Classic Theater Guild’s current production, Picasso at the Lapin Agile, is a simple but very intriguing one: an absurdist comedy about a chance encounter between a young Albert Einstein and a young Pablo Picasso at a French nightclub in 1904. If this absurdist piece of theater is “about” anything, it is first and foremost a celebration of the twentieth century and all of its artistic and scientific breakthroughs. Sure, the play examines other heavy and important themes like love, business, sex, and bladder troubles, but the play doesn’t seem to have much to say about these other than to note the absurdity of human endeavors.
The play begins in a bar with a silly scene between a bartender and one of his regulars. The set looks like the kind of warm and intimate bar that intellectuals and artists would frequent, complete with tables too small to be practical and paintings of questionable quality on the walls. But despite being an intimate space, the stage never feels crowded. Each of the characters has their own place in the world, on the stage, in the play, and in the bar, and so they each bring their own unique views and sensibilities to the play. Picasso represents art and imagination, Einstein represents science and wonder, Freddy the bartender represents business and humanity, and Schmendiman represents the hubris of man. The individual characteristics of these different and well-imagined characters are underscored with some excellent costume pieces–most notably Einstein’s bowtie, Picasso’s shoes and scarf, and Freddy’s hat.
Written by the iconic comedian Steve Martin, Picasso at the Lapin Agile blends dry sarcasm and utter silliness in a way that is classically Steve Martin, so much so that one could almost picture Steve Martin playing any of the characters in the show. In fact, Steve Martin may have written a play that only Steve Martin could ever perform perfectly. The cast of Classic Theater Guild’s production seems to struggle at times with Steve Martin’s unique brand of humor and with the absurdity of the play; as such some of the play’s humor falls flat. There is also a problem with chemistry between many of the actors. The intimate conversation between J. Scala’s Picasso and Alexia Halsey’s Germaine lacked the necessary chemistry despite each actor playing their individual parts excellently. And while the dialogue suggests a certain rapport between bartender Freddy and his regular patron Gaston, that relationship similarly fell flat on stage. Overall Malachi Burnham’s performance as bartender Freddy was stiff and diffident, which was a shame, because the script as written gives Freddy some of the funniest lines, but Burham just couldn’t seem to put the “punch” in “punchline.”
But there are plenty of other moments where an actor manages to deliver their witty dialogue perfectly. John Quinan and Michael Silvia, playing the small parts of art dealer Sagot and entrepreneur Charles Schmendiman respectively, seem the most confident in their roles and their humorous foibles. Mike Reynolds, J. Scala, and Dalton Russell, playing Albert Einstein, Pablo Picasso, and a time traveling musician, are also very comfortable in their respective roles. And while the chemistry between some members of the cast is severely lacking, the chemistry between the aforementioned three is excellent and brings the play smoothly and elegantly to a satisfying (if far-fetched) conclusion.
All in all, I can’t say I expect Classic Theater Guild’s Picasso at the Lapin Agile to be a stand-out of 2024’s local theatrical productions. But while I was a bit underwhelmed by this production, I did laugh plenty. So if a few good laughs is what you seek, you will find them in Classic Theater Guild’s Picasso at the Lapin Agile.
Classic Theater Guild presents Picasso at the Lapin Agile by Steve Martin, directed by Michael Silvia, runs from January 18-28, 2024, at the Congregation Beth Israel, 2195 Eastern Parkway, Niskayuna. Cast: Malachi Burnham as Freddy, Douglas Gladstone as Gaston, Alexia Halsey as Germaine, Mike Reynolds as Albert Einstein, CarolAnn Manzer as Suzanne/Countess, J. Scala as Pablo Picasso, John Quinan as Sagot, Michael Silvia as Charles Dabernow Schmendiman, and Dalton Russell as A Visitor. Producers: Michael Silvia and Ness Stark. Assistant Director/Stage Manager: Jackie Amilivia. Set design by Adam Coons. Set Construction/Master Builder: Bill Wilday. Scenic Artists: Mochi Lee and Linda Wilday. Set dressing/properties by Jackie Amilivia. Lighting and sound design and operation by Kat Capalbo. Costumes by Ness Stark. Wigs by John Fowler.
Performance dates are Thursday-Sunday. Thursday, Friday, and Saturday performances are at 7:30 pm and Sunday performances are 3pm matinees only. Tickets are $20. Runs approximately 80 minutes with no intermission. Contains discussions of sex and adultery. Recommended for ages 11+. Tickets are available at the door or online at https://www.facebook.com/events/s/253448827594067/.