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Entertainment Equals Steve Martin's Comedy Squared For The Stage. Squared For The Stage.
By Dave Irwin
A LADY BEHIND me at the Arizona Theatre Company's opening
of actor/comedian/writer Steve Martin's Picasso at the Lapin
Agile saved me a lot of work. Standing up after the 90-minute
romp, she said to whoever she was with, "Well, that was cute."
Not brilliant, hilarious or bad. Cute. Cute, like a dog you don't
mind petting but wouldn't want to own. Not a condemnation, but
at best a damning by faint praise. Make no mistake--if you enjoy
Martin's sly and smart style of humor, this is a fun presentation.
If you're looking for a rich exploration of ideas, rather than
a very light comedy of set pieces and one-liners, you'll be disappointed.
The play imagines a fantastic meeting between Pablo Picasso (Jos
Viramontes) and Albert Einstein (Michael Santo) in a Parisian
bar in 1904 before either became famous.
Picasso at the Lapin Agile belongs to a modern theatre
sub-genre: comic fantasy wholly dependent on recognition of the
famous author/star's prior work for its own context. Other examples
include Kurt Vonnegut's Between Time And Timbuktu, or Prometheus-5,
and Jane Wagner's vehicle for Lily Tomlin, The Search For
Signs Of Intelligent Life In The Universe. These are not works
intended to stand anonymously on their own merits. They require
a prior knowledge of Vonnegut's novels, Tomlin's panoply of characters
or Martin's own comedy career for us to fully appreciate the humor.
This particular sub-genre also takes advantage of the opportunity
to bend reality so that cosmic things can happen to make a point,
or better yet, get a laugh.
Underlining our expectations, when Santos enters the bar as Einstein,
he moves just as we would imagine Martin himself entering, in
Roxanne or The Jerk. Anyone familiar with Martin's
work can hear him delivering lines throughout the play. As the
comedy develops, no one would have been at all surprised to see
the Spanish painter and the Swiss patent clerk suddenly become
a couple of Czech brothers, twisting in unison at the bar and
saying together, "We are two wild and crazy guys!"
Martin's script includes a funny break of stage conventions regarding
order of appearance, just enough swearing during Picasso's entrance
to get our attention, lots of small laughs and even a few big
ones.
Directed by David Ira Goldstein, the production never forgets
that it's a staged performance for a paying audience, and it delivers
the goods with broad mugging and exaggerated punchlines. The sumptuous
set, designed by Bill Forrester, is beautifully detailed, enhancing
the level of fantasy, especially towards the end of the play when
the arrival of a visitor from our end of the century requires
pyrotechnics and Las Vegas lighting.
Santo plays Einstein with a tempered smugness, a man who has
figured out the mechanics of the universe but is unsure if you
can earn a living from that. Viramontes portrays the fiery passion
of Picasso as a counterpoint to Einstein's self-assured smirk.
Both serve their characters well. In the supporting roles, Gerald
Burgess as barkeep Freddy, Roberto Guajardo as Gaston, the play's
Everyman with bladder problems, and Deborah van Valkenburgh as
Germaine, Freddy's waitress/girlfriend and the voice of female
perspective, seemed most in tune. Stephanie Shine in multiple
female roles, David Orley as know-it-all Schmendiman (a send-up
of Martin's early stand-up comedian persona), Jared Sakren as
the art dealer Sagot, and Kelland Lindsey as the Visitor round
out the cast.
Perhaps if Martin, who holds a master's degree in philosophy,
had explored the more cerebral implications of this imagined meeting
along with the comedic, Picasso At The Lapin Agile might
seem less of a trifle overall. As it stands, it's a pleasant and
tasty bon-bon, but nothing meaty.
Arizona Theatre Company's Picasso At The Lapin Agile,
directed by David Ira Goldstein, continues through October 3.
Tickets range from $19 to $28, available from the ATC box office
at the Temple of Music and Art, 330 S. Scott Ave., and at all
Dillard's ticket outlets. Half-price adult and $10 student rush
tickets are available for all performances, one hour prior to
curtain at the ATC box office only. Some performances are audio-described
and/or ASL-interpreted. For reservations, call 622-2823.
For information only, call 884-4877. All performances are at the
Temple of Art and Music, 330 S. Scott Ave.
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