Steve Martin's "Picasso at the Lapin Agile" at Desert Foothills Theatre-11/3 to 11/20/05

As we toil through into the 21st century, it’s always nice to take a look back at the century before. However, this isn’t your typical tour. Steve Martin’s Picasso at the Lapin Agile puts Picasso and Einstein, two of the greatest minds of the 20th century, in a Paris café on the eve of their great accomplishments. He surrounds these groundbreakers with an interesting collection of real people and charlatans, and spends a lot of time considering how things shifted monumentally in the age they are about to enter. This is an oddball farce, and Martin’s fingerprints are all over it. In the hands of Kathleen Mary at Desert Foothills Theatre, the piece swings back and forth between hilarious and reasonably funny. No one onstage is overpoweringly good, but no one is overly bad, either. The pacing has some lulls, and the accents are, save for one, execrable. But even when it takes some bizarre turns, like the added tunes (including one that is sung in 1904 but wasn’t written until 1946) that lead into the acts, the play still does a solid job of entertaining the audience.

This isn’t an overwhelming production in either direction. Most of the jokes work, few are truly lost. One actor, Kellen Hunt in the minor role of Schmendiman, steals the show with his energy and utter commitment to his oddity. Still, all have their moments.

David Libertella’s Einstein is endearing, even if his accent is as Germanic as a bonsai tree. Steve Medeiros’ Picasso oozes charm, and is at his best when seducing everyone. Mark Hackmann’s Freddy is a good foil, being an everyman rather than playing one. Shannon Whirry’s Germaine is probably the best all around lead; her accent is consistent, her attitude mercurial. Jack White’s Gaston is a little low in energy, but quick in his comedic timing. Kimberlee Fleming’s Suzanne is a bit disappointing. Her character has some great potential moments, including the closing to the first act, but she instead tosses them off without taking command. Evin Kennedy is too broad as the art dealer Sagot, but Geoffrey Ramler is so understated in the role of the surprise visitor that you almost don’t feel he’s doing an impersonation.

The design element is outstanding in every way except for one rather crucial moment. Mark Harris’ set is absolutely impressive, a three section creation that has a few surprises of its own. Ashley Elliot’s lighting is exemplary until the incredibly disappointing arrival of the visitor, although it is pretty well balanced by the star sequence. Tracy Steadman’s costumes are all excellent, from Einstein’s suite to blue suede shoes.

The play is still funny, even if it never quite reaches the uproarious heights it could. If the rest of the cast could leach a little of Hunt’s overwhelming verve, this production might still be able to rise.