Steve Martin made the observation in penning “Picasso at the Lapin Agile” that talent is saying something well, but true genius is really saying something.
Certainly, talent filled the Northwestern Summer Theater Festival’s production of the play last weekend. Unfortunately, genius did not.
Directed by Northwestern Theater professor Craig Kinzer, the cast moved through what could have been a roaring event without rousing more than a few scattered chuckles from the audience. Bursts of snapping dialogue were deadened by long stretches of little dynamic between actors seemingly more concerned with their personal delivery than the performance’s overall appeal. In short, “Picasso” was a comedy taken a bit too seriously.
Set in a Paris bar one night at the turn of the 20th century,the piece’s characters are posed at the brink of a mysterious and thrilling future: bartenders dream about air travel and a century of peace. Albert Einstein reveals theories that will revolutionize science while Picasso struts, flaunting the gifts of his not-so-tortured artist’s life. Love and passion are in the air as characters discuss and debate everything from the virtues of art and science to how to get a woman into bed. Outrageous personalities, from a finagling art dealer to a blue-suede-shoed ghost, offer their two cents on the wave of possibilities and progress.
Although “Picasso” can give some perspective to those sitting at the century’s close, its potential for over-the-top comedy should not be dismissed. The play fell flat simply because it was filled with acting that was too sincere – something that does not do justice to Martin’s comedic style.
Picasso, played by Lee Overtree, exploded with an artist’s angst and egotism, shouting and running about the stage, challenging everyone to best him in creating beauty. He became Picasso: the womanizer, the eccentric. But instead of allowing the audience to find the piece’s subtle depth behind their laughter, Overtree played several key scenes with too straight a face.
Still, the play had its gems. Max Schulman stole the show with his portrayal of Einstein, blending perfectly the character’s quirkiness with the sometimes heavy material he was required to deliver. He interacted well with the entire cast, supporting scene after scene with his humor.
To the cast’s credit, its location at Barber Theater was less than ideal. Although the theater is not overwhelmingly large, “Picasso” works best in an extremely intimate setting in which the actors and the audience can feed off the other’s energy.
