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TNT’s ‘Picasso’ continues to deliver laughs
By STEPHANY OTTEY
The officers and trustees at Trumbull New Theater know what their resources are and know how to use them successfully. They have a track record of choosing laugh-out-loud scripts that take place in a singular location, resulting in technically and comedically successful productions. With solid productions of “Bermuda Avenue Triangle” last season, and “God’s Favorite” the season before, it’s clear that crews at TNT know how to make an audience laugh. This year, they continue the tradition with Steve Martin’s “Picasso at the Lapin Agile.”
“Picasso” isn’t exactly what you’d expect from a comedian such as Martin. As an actor, Martin has played characters that are relatable and familiar, at times leaning toward the satirical or sympathetic. As a writer, he displays a much more diverse understanding of comedy and a strong knowledge of various subjects as well. His stylings in “Picasso at the Lapin Agile” hang balanced between the likes of Christopher Durang, David Ives and Neil Simon. The general hypothesis of “what would it have been like if Picasso had met Einstein at a bar in France in the early 1900s?” that the show is created out of is borderline Ives, while the pace is even and controlled as in a Simon play. The abstract connections from idea to idea are flavored with Durang, resulting in a comedy that occasionally confuses an audience with things they already know and understand.
Martin not only samples different writing styles in this script, he also touches on every subject imaginable without creating comedy clutter. He includes jokes about science, math, history, theater, art, music and politics while adding some potty humor and sexual innuendos as well. Throw in a few puns and some irony, and “Picasso at the Lapin Agile” is a show that literally everyone can find something to laugh at.
Directed by Tom Hitmar, TNT’s production hits all the marks. The set, designed by Hitmar, is thoroughly detailed and clearly establishes the time and place with no confusion. The costumes designed by Diane Butler do the same.
The clearly intelligent cast displays a well-rounded understanding of the subjects Martin breaches in “Picasso” as well as the comedic styles used to explore them.
Alisha Kopcsos is a delightfully disgruntled Germaine. In a part written to gain sympathy and chuckles from the females in the audience, Kopcsos demands attention. Her character easily could be more annoying than humorous, but Kopcsos gives her a confident sass that prevents the role from becoming too melodramatic and moody.
Jim Kilgore plays the appropriately vanilla bartender, Freddy. Like Kopcsos, Kilgore saves his character by adding a likability to Freddy that easily could be overlooked.
Tom Hitmar pinch-hits in the role of Gaston and earns laughs with his deadpan portrayal of the aging man.
Megan Browning is subdued as Suzanne, and Tom Burd is a charming interpretation of Pablo Picasso. Amy Burd, Molly Lukeheart and Herb Everman also contribute to the comedic success of the show.
Tori Piper’s Sagot, the art dealer, is a highlight. Piper enters the show midway through and brings a burst of energy with her. Her spunk is lovable, and her comedic timing appears effortless. Her conviction in delivering clearly ironic lines is exactly what her role calls for. Piper almost makes you believe “there are two subjects in art people will never buy: Jesus and sheep!”
A stand-out performance also is delivered by Kyle Merritt as he embodies a young Albert Einstein. With impressively expressive eyebrows on an otherwise stoic face and sharp, erratic movements, Merritt creates a character that is fresh and unique. So unique that it’s easy to believe a 25-year-old Albert Einstein was much like the character Merritt portrays. Delivering lines such as “I discovered at a very young age that I’m the type of person that will always look 86,” Merritt earns laughs with his firm hold on Martin’s smart wit and historic irony.