Genius and humor mix in 'Picasso at the Lapin Agile'

Sometimes, when the light shines just right, history can be an entertaining, and even funny, thing. Especially when it's history re-invented in a stage comedy, like in Steve Martin's "Picasso at the Lapin Agile," opening at Rose Theatre on the campus of Southeast Missouri State University today.

In what could be a strange rip in Einstein's fabric of space and time, the audience sees two of the great figures in history, Albert Einstein and Pablo Picasso, turned into living, breathing human beings with wants, dreams and wisecracks. The characters manage to be fairly entertaining for over an hour -- a feat most historical figures would be hard-pressed to pull off.

"Picasso at the Lapin Agile" manages a delicate balance: Humor combined with some serious examination about the role of the genius in society and history. That balance sits on a fulcrum constructed from the skill of its cast and the witty deadpan humor of Martin.

The standout performance of the play is delivered by Tim Nicolai, who plays a young Einstein in 1904, just one year before he published his theory of relativity.

From the hunched posture of a geek working in a patent office to the distant stare of someone looking through reality to the very fabric of the universe, Nicolai brings the eccentric physicist to life.

With a mustache, and facial expressions acquired through studying the genius, it seems that Nicolai stepped though that hole in space and time right onto a stage in Cape Girardeau in 2005 (later, another character really does step through such a hole).

Nicolai's performance isn't the only one that shines in "Picasso," as Stephen Fister delivers a character many in the audience will love to hate in his young Pablo Picasso. Playing such over-the-top bravado and ego can't be easy, but Fister makes it seem as if he thinks he is the center of the very universe that Einstein tries to uncover the secrets of.

Fister swaggers across the stage with the kind of self-obsession achievable by only the top tier of narcissists, delivering his constant self promotion in a fairly good Spanish accent.

The supporting cast delivers strong performances as well, such as Suzanne, played by Lisa Curtis, a girl who fell for Picasso. As she recounts her meeting with the great artist to Einstein and others in the bar, she seeps with sexual energy, reaching what would appear to be as close to a real climax as you can get in live theater without being obscene.

Then there's the effiminate art dealer Sagot (based on a real person), played by Andrew Tebo, who struts around like some decadent member of the French royal court before the revolution, knowing he's better than all around him. His hilarious speech about why people don't like paintings of Jesus is something impossible not to laugh at.

Good writing and convincing acting aren't the only things that make "Picasso at the Lapin Agile" worth an hour of your life, though. The detail of the costumes by Rhonda Weller-Stilson define each character's station in early 20th century Europe with the old stereotypes we're all familiar with.

Freddy the bartender looks like a saloon manager from a silent movie, Sagot prances around stage in a finely tailored suit and the American shyster Schmendiman (which comes across as a character Martin himself might have played) looks like the tenor in a barbershop quartet.

The set design by Dennis Seyer and Fister has great detail, creating a fine backdrop for a play where the dialogue is the real point of attraction. There's even a little stage trick thrown in at the end, as the roof is ripped off the Lapin Agile and a star-filled sky is revealed.

When the elements come together, they make for an entertaining 75 minutes. But remember, "Picasso at the Lapin Agile" isn't all comedy. It gets pretty deep at times, too, so be prepared to put on your thinking cap along with your smile.

msanders@semissourian.com

335-6611, extension 182