The play opens with Justine (Genevieve Adam) laughing at a reality TV show about morbidly obese people and their bizarre weight loss experience, while her teenage daughter Lucy (Kyla Young) scrubs what appears to be blood off a white towel. And then they’re off—on the run (again) to a safe house hosted by David (Luis Fernandes). Lucy finds a friend in fellow social misfit Quinn (Warren Kang) at her new school, where she’s now using the name Tiffany. Meanwhile, scientist Charlotte (Madryn McCabe) has been monitoring David and “list kid” Quinn.
As the play unfolds, we learn that this is a world in which science and medicine conduct pre-emptive profiling to weed out violent offenders and criminals. What really goes on at the facility where Charlotte works? And are Lucy and Quinn dangerous?
Strong, compelling work from the entire cast. Adam is delightfully crass and sassy as the outspoken Justine; and there’s great mother/daughter chemistry between her and Young’s sullen feisty Lucy, who tends to have an unsettling gaze. Fernandes is very still waters run deep as the soft-spoken David, who’s struggling with demons of his own; and McCabe is adorably quirky as the chipper science geek Charlotte. And Kang brings a genuine, awkward and sharp-witted vibe to Quinn. There’s more than meets the eye to all of these characters; and the ensemble does a lovely job mining those layers.
In a world of pre-emptive profiling, a mother goes on the run to keep her daughter safe in the chilling sci-fi thriller Recall.
Dylan Evans (Picasso) & Will King (Einstein) in Picasso at the Lapin Agile – photo by Erika Downie
Picasso and Einstein walk into a bar.
This is the set-up for Steve Martin’s Picasso at the Lapin Agile and Seven Siblings Theatre’s current production, directed by Seven Siblings co-founder Erika Downie, which opened at Kensington Market bar venue Round last night.
It was my first time at Round, a vintage-inspired cabaret-styled bar space and a perfect immersive venue for this production. The Lapin Agile barkeep Freddie (Dylan Mawson) set the scene as the audience entered and settled, opening the bar on the playing space and jovially interacting with the audience, at least one of whom mistook him for the venue bartender (you can purchase beverages before the show starts).
Set in a bar in 1904, we find the two titans of innovation in their mid-20s and both on the brink of greatness. Einstein (company co-founder and previous production director Will King) is slogging away on his book on the theory of relativity, and Picasso (Dylan Evans) is in his blue period, struggling for instantaneous alignment between his ideas and the act of drawing them. At the top of the play, barkeep Freddie (Mawson), his sweetheart and co-worker Germaine (company co-founder Madryn McCabe) and regular Gaston (Jamie Johnson) are already pondering life, art, women and love when Einstein bursts in; and it’s not long after Picasso’s arrival that the scientist and the artist get into a heated argument that turns into a duel of science versus art.
Add to that mix an assortment of opinionated patrons and friends – a lover, friend and admirer (all played by Erin Burley), an art collector (Erik Helle), an inventor (Andrew Gaunce) and a surprise visitor (Maxwell LeBeuf) – and you have some hilarious, thought-provoking discussion and debate, as well as some predictions about the burgeoning 20th century. There is a restless, anxious and hopeful atmosphere in the bar as these characters adjust to the new century. Sparks of brilliance and absurdity abound – and it’s all big, goofy surreal fun.
Equally big fun is the sharp and engaging ensemble. Portraying the two young men on the edge of great things, King and Evans bring passion, drive and intelligence. King’s Einstein is bubbling with energy and ideas, shifting between stillness and silence and bursts of movement and thought; and Evans’ Picasso is smooth, sexy and charming – an infuriating player, but a talented and sensitive artist you can’t help but feel drawn to. And the upshot of their argument is that both men discover that they have more common ground than they thought – and that art and science are no so different after all.
Mawson’s Freddie is a great combination of affable and irreverent, and clueless with an occasional brilliant observation. Beneath the beautiful barmaid exterior, McCabe’s Germaine is insightful, astute and self-aware; her passions are her own to direct – and she has the most accurate predictions about the new century. As Gaston, Johnson brings a touch of wistful nostalgia to an otherwise grumpy older man. Saying aloud what Germaine already knows, Burley’s Suzanne (one of Picasso’s forgotten lovers) is a bright young woman who ultimately falls for Picasso with her mind, in spite of physical attraction and in spite of herself. Helle’s Sagot is flamboyant and shrewd, with an eye for important art and a mind for marketing – which affords engagement in his own artistry as a photographer. Gaunce’s self-important inventor Schmendiman is hilariously buffoonish, with a Daliesque quality to his verbal outbursts; and LeBeuf’s Visitor is a smooth, cool crooner with an interesting take on the world and its response to greatness.
The play crackles with ideas and conversation, with moments of breaking the fourth wall – even acknowledging that it’s a play – it’s a big ideas party and everyone’s invited.
Picasso and Einstein walk into a bar, and art, science, women and philosophy ensue in Seven Siblings Theatre’s wacky, surreal and immersive production of Picasso at the Lapin Agile.
Picasso at the Lapin Agile continues at Round until Feb 28; please note the 7:30 p.m. curtain time (it’s not cool when the stage manager has to hold the house for audience showing up when the show’s supposed to be starting). You can get advance tix online – strongly recommended.
You can keep up with Seven Siblings on Twitter, Facebook and Instagram. In the meantime, check out the show’s trailer:
