A wild and crazy ‘Picasso’ at Civic Playhouse

Tom Titus

Even without advance knowledge of the play’s authorship, it would

be next to impossible to view “Picasso at the Lapin Agile” at the

Costa Mesa Civic Playhouse without entertaining thoughts of the

comedic antics of Steve Martin.

Martin wrote “Picasso” and undoubtedly envisioned himself playing

many of the major characters -- probably simultaneously -- since the

“wild and crazy” comic’s stylized blend of cerebral wackiness is

evident throughout. And director Kyle Myers adheres to Martin’s

proclivities faithfully, even adding an arrow-through-the-head prop,

which dangles, unused, from a coat hook as a tribute to the

playwright.

Martin envisioned an encounter between artist Pablo Picasso and

budding genius Albert Einstein in 1904, when both were in their 20s,

at the Lapin Agile, a Parisian bistro famed for is patronage by the

artsy folk of the time. Just for good measure, he threw in a

character from the future -- a side-burned singer who warned people

against stepping on his blue suede shoes.

Throw in some equally eccentric local characters, and you have the

recipe for some bullet-paced farce, served up by a company of actors

mostly new to the Civic Playhouse stage, but with the performing

talent and intellectual insight to make “Picasso” work most

successfully.

Peter Denlo plays the young Einstein with a passion for

mathematics and a spot-on German accent that elevates his performance

marvelously. Denlo scores highest by solving complicated theoretic

equations instantly, in his head, and making the dullest dialogue

crackle by his fervent devotion to the upper regions of science.

Picasso sweeps into the bistro in the dynamic, hedonistic form of

Mario Prado, whose character’s genius lies not only in art, but

romance. Prado dominates the stage as the youthful, temperamental

painter who refuses to be discussed in the same sentence as Matisse

and provides a splendid “heart” counterpart to Denlo’s “head”

character of Einstein.

Of the supporting ranks, Deborah Faurbach is the most memorable as

Suzanne, a sultry Parisian vixen who has known Picasso biblically and

returns for further study. Robert Wilson is fine in the comparatively

straighter role of Freddy, the Lapin Agile owner/bartender.

Harv Popick provides continual chuckles as an elderly bar patron

with weak kidneys who announces each trip to the restroom with

dramatic flourish. Olivia Braza simmers delightfully as Germaine, the

earthy waitress, while Marie Nussle has a juicy cameo as a countess

romanced by the young Einstein.

With greatness comes great pretenders, and Ben Marks renders a

representation of the latter category, an egregious faux genius named

Schmendiman. June Rubin sizzles as a young lady who’s captivated by

him, and Paul Labita has a manic turn as a highly charged art dealer.

Back from the future comes a young Elvis Presley, who completes

the trio of super-sized historical figures. Seth Alcorn has the

King’s look and mannerisms down splendidly in a terrific

interpretation of the legendary entertainer’s youthful version.

Art and science have never been more formidably, or hilariously,

at odds than in “Picasso at the Lapin Agile,” and the Civic Playhouse

pulls out all the stops to render this imaginary encounter most

enjoyable, from either an intellectual or a visceral view.

* TOM TITUS reviews local theater for the Daily Pilot. His

reviews appear Thursdays and Saturdays.