A Scientist and an Artist Walk Into a Bar…

Picasso At the Lapin Agile – Citadel Theatre

One evening in 1904 a young Albert Einstein, a youthful Pablo Picasso and a mysterious Visitor from the Future meet by chance at the Lapin Agile (the Nimble Rabbit) a small bar in bohemian Montmartre, Paris. There they exchange views about science, art and sex. Filled with a mixture of funny, unexpected one-liners, Steve Martin’s surrealistic 1993 one-act comedy, which had its premiere at Chicago’s Steppenwolf Theatre, went on to play in Los Angeles and New York. It’s a mixture of comedy, insightful theories, bawdy humor, quirky characters and a contemplation of the relationship between art and science. 

Although Steve Martin is primarily known for his successful career as a standup comedian and film actor, he’s also an accomplished musician and writer, having penned several screenplays, novels, children’s books and collections of essays. This was Martin’s first play, however he went on to write “The Underpants,” another comedy set in Paris, “Meteor Shower” and the musical “Bright Star.”

Rather than telling a story, “Picasso at the Lapin Agile” plays more like a 90-minute debate about talent versus genius within the arts and sciences. It’s populated by a cast of bizarre, unconventional characters whose purpose is mainly to serve a specific function in this discussion. They toss around bon mots of inspiration and comedy, while providing opinions about painting and physics. Freddy, the simple-minded barkeep of the Lapin Agile, keeps his customers’ glasses filled, with the able assistance of Germaine, his beautiful girlfriend and waitress. While now and then Freddy comes up with a pithy observation, Germaine seems the more intelligent and thoughtful of the two. Gaston, an elderly regular at the bar, takes advantage of his advanced years by saying whatever comes to mind. He’s also afflicted by a condition that causes him to make frequent visits to the loo. 

A few new customers visit the Lapin Agile on this October evening. The first is 25-year-old Albert Einstein, an exhilarated, likable scientific genius with a passion for living. He’s just about to publish his soon-to-be famous book, The Special Theory of Relativity. Often, throughout the play, this affable young man, bursting with wisdom and an enthusiasm for sharing his knowledge, finds he has to simplify everything for his new friends. Eventually he’s joined by an equally impetuous Pablo Picasso, a talented 23-year-old painter, overflowing with ego and sexuality. This womanizing young man ultimately finds himself going head to head with Einstein in a debate about their individual fields of expertise. 

They’re joined by a self-acknowledged genius and inventor named Charles Schmendiman, a flamboyant, gutsy, outspoken dilettante whose pompous attitude toward the real intellects in the room is hilarious. In addition, an enthusiastic art dealer named Sagot, who has a passion for collecting great masterpieces, drops by the bar for a drink. As the evening wears on, a surprise visitor in blue suede shoes enters the establishment. He’s time-traveled all the way from the latter half of the 20th century to pay a call on these characters. While he never offers his name, the audience eventually recognizes that the enigmatic American with the Southern drawl is none other than Elvis Presley. He’s arrived to provide yet one more viewpoint about artistic talent. 

The bar is also frequented by several women. Suzanne, a teenager who’s romantically obsessed with Picasso, is disappointed to find that the artist doesn’t even remember her name or their night together. A lovely woman called The Countess arrives for a rendezvous with Einstein. She’s perhaps the only person who truly understands this man of science. Another nameless young girl arrives, who Picasso assumes to be one of his adoring public. Ironically, she’s actually interested in Schmendiman, instead. Throughout the evening people come and go and drinks flow as freely as the conversation and comedy.

Farce and broad comedy are Scott Phelps’ specialty. He always brings an added je ne sais quoi to every comic drama he directs. Here, Mr. Phelps closes the company’s 20th season on a high note, presenting a truly masterful production. Actually, this is the second time Citadel Theatre has presented this play. Steve Martin’s script is inherently entertaining, and between Phelps’ skilled direction and a terrific cast, it will be remembered as one of Citadel’s best productions. 

The entire cast is excellent, and many of the nine actors are brand new to this theatre. Dan Deuel is an exception, who returns to Citadel to charmingly play the funny and feisty senior citizen, Gaston; Juliana Liscio, seen this season at Citadel in “Brighton Beach Memoirs,” is a delightful ray of sunshine as saucy Suzanne and two other characters; Jake Busse is a shot of electricity as an effervescent Schmendiman, and will hopefully find his way back to the Lake Forest venue next season; and Amy Stricker is sensible, savvy and sexy as barmaid, Germaine. Equity actor Philip C. Matthews makes a wonderful Freddy, our bartending host and the singular character comfortable with breaking the fourth wall to interact with the audience. Tim Walsh makes a welcome return to Citadel as a high-flown, histrionic art dealer, Sagot. Ian Cummisford is pleasant and polite and pulsates as the country boy from Memphis, Tennessee, paying an unexpected visit to the City of Lights. 

But the production primarily belongs to two extremely gifted actors.  Mark Yacullo is brilliant and multitalented, whether starring in musicals, dramas or comedies. He was terrific as Seymour in Metropolis Theater’s “Little Shop of Horrors” and stood out among the other talented performers as Dean Martin, in BET’s “Sammy: A Tribute to Sammy Davis Jr.” He also left an indelible mark as Crowther in Eclectic Theatre’s exciting production of “The History Boys.” Here, Mr. Yacullo is cordial yet captivating as Einstein, the charismatic young patent examiner, who’s real passion is physics. His subtle expression and observations, contrasted with his bombastic explosions of delight, make the actor’s portrayal of Einstein a performance to savor. 

But handsome, brilliantly gifted newcomer Travis Ascione, who’s not only making his Citadel debut, but also his first Chicagoland appearance, is equally magnificent as Picasso. This university-trained actor from Pennsylvania has an extensive background playing Shakespeare and contemporary drama. Additionally, Mr. Ascione is a voiceover artist and a theatre educator, as well. He fully understands how to deliver a line, land a laugh and achieve a desired effect with a simple look. With Citadel’s next season in the planning stages, there are several roles for which he’d be fantastic. Hopefully we’ll be seeing this talented young actor again soon.

With actors who almost transcend the production with their standout performances, Citadel’s finale to their excellent 20th season is well worth seeing. The production is enhanced by the scenic work of designer Jonathan Berg-Einhorn. His set is filled with color, creativity and copious detail. Cindy Moon’s colorful costume design nicely provides a period look. All in all, this refreshing production of Steve Martin’s absurdist comedy is an adult comedy treat, especially for those who are new to this play. It has all the magic, talent, energy and artistry required to make for a perfectly entertaining evening of theatre.

Highly Recommended

Reviewed by Colin Douglas

Presented April 22-May22 by Citadel Theatre, 300 S. Waukegan Rd., Lake Forest, IL.

Tickets are available in person at the theatre box office, by calling 847-735-8554, or by going to www.citadeltheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.