So, Picasso and Einstein walk into a bar.
In this tiny bar in Paris in 1904, they begin to ponder what the 20th century might be like. They suspect their individual contributions will change the world.
This meeting and conversation between two geniuses was imagined by the ingenious playwright Steve Martin — yes, that Steve Martin — and forms the centerpiece of his “Picasso at the Lapin Agile,” now in a production by Torrance Theatre Co. through June 14.
And yes, it is a classic Martin comedy: thoroughly silly and yet an astute observation of humanity. It imagines the night the 20th century’s leading scientific thinker and modern art’s most influential innovator match wits — and pencils.
In 1905, Einstein would publish his “special theory of relativity.” In 1907, Picasso would paint “Les Demoiselles d’Avignon.” But on this night, they are young and energized and full of potential, as is the new century.
At Torrance, under the direction of Jim Hormel, the play’s hilarity remains sharp while Martin’s ideas are given their due respect. The play, of course, touches on science and art, thought and action, time and timelessness. It is seasoned with earthiness and spirituality, and it is underpinned with the universal and sadly timeless contrasts between men and women.
So as universal as it is, the play does not require an audience with an extensive knowledge of the works of Einstein (played here by Ryan Shapiro) and Picasso (Joshua Aguilar) — though some of the jokes may brush by us at the speed of light. The pair’s discourse is easily comprehended, perfectly reasonable, and simultaneously witty and tender.
The regulars at the Lapin Agile represent the rest of us. Embodying the working class is the bar’s grumpy owner, Freddy (Tim Blake), apparently tired of customers who theorize but don’t pay for their drinks. Representing smart women stuck in second place is Freddy’s better half, Germaine (Amanda Webb), who in 1904 manages to predict the technical innovations of the 20th century, to the scorn of the men.
The ugly side of commerce is exemplified by the local art dealer, Sagot (Chris Mock), a particularly sharp thorn in Picasso’s side. The ugly side of old age gets a wise but giggle-inducing representative in Gaston (Ron Rudolph), who frequently heads off to the toilet with great urgency and an even greater one-liner.
Just before intermission (this production snips the relatively short play into two acts), a new character bursts through the door, presumably the third man in the triumvirate that will set the course for the century. After intermission, we officially meet him. He is Charles Dabernow Schmendiman (Gary Kresca). That’s right, you have never heard of him.
If we look at Schmendiman from a 2015 perspective, he seems to represent the modern celebrity, expecting fame to precede him, contributing nothing of importance to culture. Or so it seems, until we see, near the play’s end, what he made famous.
And those who fall for the wrong people and love without hope find a mascot in Suzanne (Anna Fleury), who was momentarily wooed by Picasso’s pickup lines — in this case literal lines that he drew with his fingernail on the back of her hand.
Other women here pick more stable men. Einstein has a date (Stephanie Lehane) who thinks like he does, and even Schmendiman has a fan (Lehane again).
Martin doesn’t let his audience leave without spending a short but engaging time with another person (Julian R. Diaz) who brought change to the 20th century.
This play, about minds that open, ends as the cozy bar experiences its own bit of theater magic (scenic design by Mark Wood, lighting design by Steve Giltner/Street-Lite LLC). Martin’s goofy humor shares the stage with his pointed reminder of what we made of the 20th century, which started with all the potential in the world.
Dany Margolies is a freelance writer.
