Thursday, April 19, 2018

TITG’s Oklahoma – the Right Show in the Right Place

Jade Tate, Benjamin Philip, and Sarah Thornton.
Photo by Sarah Ominksi.
By Tina Arth

Judging from the turnout at Sunday’s matinee, Rodgers and Hammerstein’s Oklahoma still has the power to draw huge and enthusiastic audiences 75 years after its 1943 Broadway debut. Overall, Theatre in the Grove’s ambitious undertaking of the first American musical to thoroughly integrate the music with the story works well, managing to keep the audience engaged despite its length (over three hours with intermission, as Director Jason Weed opted not to delete any of the show’s musical or dance numbers). A few bobbles and probably unavoidable casting decisions are all that prevent the production from crossing over the line from fine community theater to fine theater – but there are enough great moments and superb performances that any Oklahoma fan, or any lover of classic musical theater, will be glad they made time to see the show.

Set in the Oklahoma Territory in 1906, just before Oklahoma was granted statehood, the show tells the story of farm girl Laurey Williams and her beau, cowboy Curly McLain. While the young couple stubbornly refuse to admit their feelings for each other, Laurey is also courted (or perhaps “stalked” is a better word) by farmhand Jud Frye, an angry misfit whose longing for young Laurey leads to a world of trouble and hurt. A secondary story is the tale of Laurey’s friend Ado Annie, a libidinous young thing who juggles the ardor of her absent boyfriend Will Parker and the all-too-present traveling peddler, Ali Hakim. Underlying the action is the tension between the homesteaders and the cowboys, fences and plows vs. cattle on the open range. Contemporary themes of uniting a divided society and addressing sexist double standards ring true today – and Jud Frye’s story is frighteningly relevant in an era just coming to grips with the relationship between societal rejection, casual bullying, and mass murder.

Austin Hampshire, a newcomer to TITG (and to acting – he’s a classically trained vocalist just transitioning to theatrical performance) brings his lovely voice to Curly’s big numbers like “Oh, What a Beautiful Mornin’’ and “Surrey with the Fringe On Top.” It’s a stretch for him to completely master the role’s arrogant cowboy swagger, but he makes a game attempt and establishes some believable chemistry with Jade Tate’s Laurey.  Tate and Hampshire blend beautifully in “People Will Say We’re In Love,” and Hampshire’s slyly heartless delivery of “Pore Jud Is Daid” is a real highlight of the show. 

I applaud the decision to cast Tate as Laurey – the petite brunette doesn’t look like any Laurey I’ve seen before, but she brings tenacity to the role that belies her fragile appearance, and she completely nails both solos and duets. Brandon Weaver turns in a stunning and original performance as Jud Frye – he finds an intriguing middle ground between aggressor and victim that expresses a very 21st century view of Frye’s angry and tortured character. 

Sarah Thornton creates a marvelous Ado Annie – cute as a bug, funny, insouciant, and just dumb enough to justify her thoroughly wacky behavior. The chemistry between Thornton and Scott Smith (Will Parker) is inspired, their story lightens up a sometimes dark tale, and he handles the challenging song and dance routine required in “Kansas City” like a pro. Benjamin Philip’s broadly comic take on Ali Hakim is often brilliant – when he’s supposed to be center stage he grabs our attention and elicits lots of well-deserved laughter. However, there are moments when he needs to turn down the flame a bit and just blend with the ensemble – and while it’s amusing there’s just no room for a Charlie Chapin imitation in Oklahoma.

In a huge cast with lots of key roles, other standout performances come in from Robin Michaels (Aunt Eller), Bud Reece (Andrew Carnes), Kate Barrett (Gertie Cummings), and dancers Amelia Michaels, Lue Harrelson, Kassie Switzer, and Matthew Hampshire.

Weed’s decision to place the orchestra on stage works well, despite the loss of space for the large cast. The skilled performers look natural in the gazebo that evokes a small-town bandstand, and the few moments when the actors briefly interact with musicians are a nice touch. The rest of the set is equally effective – a lovely backdrop, convincing farmhouse, and darkly sinister hovel (that moves quickly – a real plus!) for Jud Frye’s grimy smokehouse. Brian Ollom’s lighting design complements much of the action, although the lighting in the dream sequence would work better if the second half were much darker.

Theatre in the Grove has picked a sure-fire winner – they clearly understand the community and know how to keep the customers satisfied. While there are no really bad seats in the theater, the best spots often go early, so it’s a good idea to buy in advance.

Oklahoma is playing at Theatre in the Grove, 2028 Pacific Avenue, Forest Grove through April 29th, with performances Friday and Saturday at 7:30 p.m. and Sunday at 2:30 p.m.

Wednesday, April 18, 2018

Always…Patsy Cline – 3rd Time’s a Charm (Again!)



By Tina Arth

One look at the opening night audience made it clear that Broadway Rose’s decision to bring back a popular, enormously successful, brilliantly performed show after a 5-year hiatus is definitely a revival, not a recycle! Sara Catherine Wheatley and Sharon Maroney are reprising their roles in creator Ted Swindley’s Always… Patsy Cline, a musical love letter to the beautiful powerhouse who broke the glass ceiling, barriers between country and pop, and millions of hearts in her short singing career. If you’ve never seen it – go. If you saw it somewhere else - go. If you saw one of the two previous Broadway Rose productions, then I don’t need to tell you to go – you’ve already figured it out – and hopefully bought your tickets, as many performances are already close to sold out.

While it is in many ways a tribute concert (adorned with Wheatley’s renditions of 28 songs from Cline’s huge repertoire), there is a solid narrative, based on a true story, to carry move the evening along. To reprise my 2013 review, “The show is based on the real-life relationship between Patsy Cline and an ardent fan, Louise Seger. Louise fell in love with Patsy’s music after hearing her on the Arthur Godfrey Show, and spent one night as Patsy’s self-appointed manager and hostess that led to a lasting friendship between the two women. The story is told by Louise talking directly to the audience, direct conversations between Louise and Patsy, Louise’s imagination, Patsy and Louise interacting with the band, and of course the songs that Patsy sings in a foot-stomping couple of hours.”

Wheatley is simply amazing – if anything, her voice is even richer and her grasp of Cline’s vocal and personal mannerisms more accurate than the last time I saw her play the role. To again plagiarize the 2013 review, “Wheatley’s vocal ability and stage presence recreate the magic that can only be experienced when a first-rate performer is seen live – recordings just do not capture the exuberance or the intimacy that we imagine Patsy Cline must have brought to the stage. Remarkably, Wheatley achieves this without overt imitation – her vocal style, while reminiscent of Cline’s, is distinctly her own…”

As the star struck Houston divorcee Louise Seger, Sharon Maroney brings just the right touch of just-us-folks charm to her role as narrator and supporting character. Her spectacularly tacky attire presents a nice counterpoint to Wheatley’s increasingly elegant costumes and coiffures, and the rapport between the two women while they giggle, gossip, and cook up a mess of bacon and eggs tells us everything we need to know about Cline’s folksy roots.

Musical director/conductor/pianist Barney Stein has again done an extraordinary job of creating a true country band, placed right on stage where they ought to be - and the band’s frequent interactions with their vocalist, both joking around and in occasional vocal harmonies, precisely capture the egalitarian feel so critical to the creation of a down-home barn ambience.

In his program note, Director Chan Harris highlights the importance of genuine friendship in a world where texting and social media have often replaced the beauty of real human contact. For a couple of hours last Friday, I was transported from 2018 to 1961, able to put my worries aside and hang out with 200+ fellow music lovers. I strongly recommend that you do the same!


Always…Patsy Cline is playing at Broadway Rose’s New Stage, 12850 SW Grant Avenue, Tigard through Sunday, May 6th.

Thursday, March 22, 2018

LOoP’s The Student Prince – Not G&S, Still Fun

Lindsey Lefler and Jacob Mott
By Tina Arth


My background in light opera is very, very light – so much so that I didn’t realize that The Student Prince was not a Gilbert and Sullivan work until I saw the program at the Light Opera of Portland (LOoP) production Sunday evening. When I talked to some cast members after the show I understood – Dorothy Donnelly and Sigmund Romberg’s 1924 operetta, billed on the program as “A Spectacular Light Opera,” is exactly the kind of thing that Gilbert and Sullivan so brilliantly skewered in their slyly subversive body of work. It is a real tribute to director Dennis Britten and his cast that I was able to thoroughly enjoy the production despite its markedly aristocratic bent.

While the book lacks the relentlessly witty patter of G&S, the story is structured exactly like some of their best-loved classics – the wealthy prince/king falls in love with the beautiful, but humbly-born barmaid, while the lovely and high-born princess (the king’s betrothed) seems to have given her heart to the soldier assigned to be her companion and bodyguard. I fully expected the king to abandon his throne, or at the very least to discover that the barmaid and princess had been switched at birth – but alas, in The Student Prince duty trumps passion, and it is honorable to uphold class distinctions. The play is by no means dry – it’s actually a joyous celebration of the freedom and exuberance of youth (at least, for men of the right background) expressed through their enthusiastic embrace of wine, women and song at the University of Heidelberg. It is loaded with rousing songs, stirring harmonies, familiar melodies, nostalgia, melodrama and beer-swilling frat boys (or the their 19th century Heidelberg predecessors), with a nice touch of pathos as the prince’s loyal tutor/mentor rescues him temporarily from the chains of his noble birth yet counsels him ultimately back into the life of civic obligation into which he was born. Better yet, the vocals are every bit as challenging – sometimes simply breathtaking (quite literally for the artists, I’m sure).

 Bill Wuertz’s work as Doctor Engel, the tutor, is a real highlight. His voice occasionally wobbles, but no more than one would expect of an old man who spends his last days briefly recapturing his lost youth, and “Golden Days” is genuinely touching. For comic relief, we have both the prince’s valet Lutz (Rob Patrick) and the valet’s valet, Hubert (Linh Nguyen), jointly painting a picture of snobbery taken to hilarious extreme. On the distaff side, Pat Lach (as the Grand Duchess Anastasia) sweeps around the stage with delicious grandeur, and Gabrielle Widman (Gretchen, the maid at the Inn) counters with earthy humor until her reappearance in Act III, when she dons a fine dress and puts on lofty airs of her own. Becca Stuhlberg plays a key role as Princess Margaret; she is a deft vocalist, dances gracefully, and tackles perhaps the most challenging acting in the show as she grows from a spoiled princess into a dedicated and dutiful future queen.

The real stars, however, are Jacob Mott as Prince Karl Franz and Lindsey Lefler as barmaid Kathie. Mott and Lefler have nice chemistry, and they are more than equal to their demanding tenor and soprano roles. Lefler’s soaring coloratura work, often delivered from her perch atop a barroom table, leaves the audience breathless yet never betrays the humble origins of her character. Mott’s vibrant tenor voice handles the songs with ease, and he is equally adept at expressing his character’s shifts: sheltered prince, free-spirited rake, ardent lover, and ultimately mature monarch.

 

The LOoP production is blessed with a fine orchestra, under the direction of the remarkable Dr. Linda Smith. I was particularly happy to see that each of the musicians is given a separate bio in the program – these hard working, talented folks deserve all the attention they can get. Lucy Tait’s costumes are really quite stunning – the ball gowns elaborate and authentic, and the costumes for the Rheinisher and Saxon Corps as well as the members of the court add a great deal of color and character to the production.

 

Dennis Britten’s love of light opera fuels this almost unprecedented opportunity for locals to experience an amazingly entertaining art form. With only a two-week run, there’s not much time. Luckily, the Alpenrose Opera House is huge, and there’s ample space for all.

 

The Student Prince plays Friday, March 23d and Saturday, March 24th at 7:30 PM and Sunday, March 25th at 2:00 PM at the Alpenrose Opera House, 6149 SW Shattuck Road, Portland.


Monday, March 19, 2018

HART’s Nana – Not Quite Your Cherished Childhood Memories

Ted C. Schroeder, Phyllis Lang, Lauren Loomis, and Pam S. Hough


By Tina Arth


By all rights, a play with a title like Nana’s Naughty Knickers ought to be not just bad, but appallingly, mind-numbingly bad. However, a decent script, several seasoned actors, and a comedy-loving director are defying the odds in HART’s current production. The resulting show by playwright Katherine DiSavino fits perfectly with this season’s theme, “Laugh Along With HART.”

The story is based on a unique take on the idea of grannies gone wild; with its “ba-da-boom” jokes and suggestive, but ultimately innocent set-ups it provides classic community theater fare. Law school bound Bridget is moving into her dear Nana’s rent-controlled apartment in NYC – just for the summer, until she can get a place of her own. When she learns that Nana Sylvia is running an illegal boutique, selling racy lingerie to senior citizens from the apartment (in defiance of the landlord’s rules, zoning laws, the IRS, and any semblance of good taste) she is horrified, and insists that the operation be shut down immediately. Shrugging off the threat of jail time or worse – the landlord is dying to evict Sylvia and raise the rent – the enterprising old gal is having none of it. A shipment mix-up brings the wrong (so very, very wrong) type of lingerie to the apartment, sending Sylvia and her pal Vera into a sewing frenzy as they try to recreate their lost shipment before the arrival of their biggest customer.  Merriment ensues.

As the niece Bridget, Lauren Loomis is often stuck playing the “adult in the room” as she worries her way through the first act, but in Act II when she has committed to helping her Nana she’s able to relax and get some laughs – particularly the physical comedy as she tries to maintain the stuffing that makes it possible for her to fill out a “Saucy Slips, Etc.” item built for a slightly saggier physique. Karen Huckfeldt brings a delightfully gum-smacking nonchalance to her portrayal of (model? sex worker?) Heather Van Pree, and has no trouble filling out her outrageous outfit, a wonderfully tacky assemblage of lace corset and fishnet tights stretched to the max. While his Irish accent sometimes wobbles, Ted C. Schroeder makes a credible nervous cop, and his na├»ve courtship of Bridget is rather charming.

The real star turns come from the senior citizens (all veteran actors/comics): Phyllis Lang (“Sylvia”), Pamela S. Hough (“Vera”), Donald Cleland (landlord “Gil Schmidt”), Gary Romans (“Delivery Guy #1”), and Virginia Kincaid (“Clair Schmidt”) – with close to 200 years of combined experience, these folks definitely know how to milk each situation for maximum comic effect. Kincaid and Romans have very little stage time in their cameo roles, but each has honed a few minutes of stage time into a memorable performance. Cleland’s sarcastic, explosively angry landlord reveals his true colors, like all bullies, when confronted by a higher power (his wife Clair) – his sudden shift into a whiny pussy cat is a joy to behold. However, the meat of the show’s humor comes from the interaction between Hough and Lang, two of the toughest old broads to tread the boards locally for quite a while. Their timing is exquisite, and Hough’s fierce, raspy, occasionally hysterical delivery contrasts beautifully with Lang’s steely if soft-spoken determination.
William Crawford and director Morrow have built a set that, while not beautiful (it is, after all a rent-controlled apartment!), is extremely functional – there are several hiding places to conceal the lingerie, each controlled by a hidden switch or lever, and the smooth mechanisms really enhance the effect of the tawdry undergarments.

Nana’s Naughty Knickers contributes nothing substantive to our understanding of the human condition, but it provides a couple of hours of welcome comic relief. Despite the apparently adult theme, it’s really a pretty clean show, and not inappropriate for most children. They may not understand everything, but they’ll get a kick out of the bizarre clothing, clever set, general slapstick aura, and Huckfeldt’s gum-chewing acrobatics!

Nana’s Naughty Knickers runs through Saturday, March 31st with performances at 7:30 p.m. on Fridays and Saturdays and 2:00 p.m. on Sundays (plus an added Saturday matinee on March 31st) at HART Theater, 185 S.E. Washington, Hillsboro.

Friday, March 16, 2018

Twilight’s Stage Kiss: Farce? Rom Com? Brilliantly, Both


Kristen Paige and Rob Kimmelman


By Tina Arth

Sometimes those of us who are consumers, not producers, of show biz can a little irritated by the fascination theater folk seem to have with stories that revolve around their insular little world.  Some of those stories amuse us a lot less than they seem to amuse the actors. However, as millions of fans of The Producers can attest, the right script with the right acting and direction = a rare gem. Playwright Sarah Ruhl’s Stage Kiss, now playing at North Portland’s Twilight Theater Company, is the real thing – a fine combination of farce and frothy romantic comedy with just enough serious undercurrents to give us a taste of thematic depth beneath the waves of laughter. Under the direction of Matt Gibson, seven actors (portraying a total of fourteen characters) deliver two hours (more or less) of broad gags and sly reactions, resulting in a show that’s impossibly funny.

Since Shakespeare’s time, the “play within a play” has been a time-honored device, and Ruhl doubles down by offering two such theatrical insets, each a parody of hackneyed, truly bad theater. Two actors (identified only as “She” and “He”) meet at a New Haven audition for a terrible, terribly stylized ‘30s drama called “The Last Kiss.” Turns out that they are ex-lovers from 15 years earlier, which adds some tension (sexual and otherwise) to the fact that they are expected to kiss regularly and passionately in the play. He is something of a bounder (with a girlfriend), while She now has a husband and teen daughter. In the short run, these tiny details are no obstacle to the revival of their old flame.  By the time we get to the second act (and second playlet) the now-loving and lusting couple has traveled to Detroit for leads in a gritty crime drama that presents a whole new set of conventions – the tough New York broad tangling with an IRA thug. The show’s somewhat surprising conclusion provides a satisfying reflection on the difference between love and infatuation, between living in the moment and living for the long run. Ultimately, the audience can feel that all is OK with the world – without being subjected to a cloying sentimentality that would dilute all of the lovely wit and slapstick that has come before.

While Stage Kiss is one of the funniest shows I’ve seen in several years, there are no actual jokes in the script – the humor comes not from wordplay, but from the cast’s ability to infuse humor through really, really good comic acting. Kristen Paige (She) captures her character’s narcissism and neuroticism, yet she somehow manages to make us care. Rob Kimmelman (He) does some fine physical comedy, especially when on crutches, and (like Paige) he manages without mugging, overacting, or chasing laughs. In fact, much of the finest comedy comes from watching and sharing the other actors’ reactions to the couple’s make-out scenes – subtle, organic, hilarious. Speaking of osculation, some of the evening’s funniest stuff comes when Paige has to audition and later rehearse with Jason Fox (as Kevin) – the sight of the hapless, clearly gay Fox trying to master a stage kiss is an image that clings to the brain like an octopus on the mask of an unwary diver.

Much of Derek Lane and Josiah Green’s set design is functional, but somewhat bare bones – the exception is the wonderfully gritty East Village studio, where every touch from dirty dishes to grimy handprints is depicted in loving detail. Laura Cunard’s keyboard work (and original music by Cunard, Gibson, and Jonnie Torres) is an unexpected pleasure.

My first reaction to Stage Kiss was that it was only to be missed if you’re in a coma – and I stand by that assessment (as long as you’re not a child – it’s dripping with mature themes and language).  Every house should be a full house!


Twilight Theater Company’s Stage Kiss is playing at the Performing Arts Theater, 7515 N. Brandon Avenue, Portland through March 25 with performances at 8 P.M. Friday and Saturday and 3:00 P.M. on Sunday.

Tuesday, March 13, 2018

Bag&Baggage's Death and the Maiden Riveting Political Drama

Mandy Khoshnevisan and Nathan Dunkin
Photo by Casey Campbell Photography

By Tina Arth


For its first show of 2018, Bag & Baggage presents the fierce, thought provoking, and utterly compelling Death and the Maiden. Playwright Ariel Dorfman’s 1991 drama explores the problem of how we, as individuals and as a social and political body, deal with the after effects of a period of oppression – how do we heal the victims, sanction the abusers, and move on to reintegrating both sides into a functioning society? While the play is clearly based on two survivors of Augusto Pinochet’s 17-year reign of terror in Chile, it could easily have been written about post-Nazi Germany or, on a less overtly catastrophic scale, about the “Me Too” movement and our efforts to deal with millennia of subjugation of women. Where there are no independent witnesses and the accused denies the charge, do we believe the victim?

Dorfman tells the story of Paulina Salas, a fictional Latin American woman who encounters Roberto Miranda, the man who (she believes) tortured and raped her 15 years earlier as an agent of a repressive political regime. Although she never actually saw her abuser, she recognizes his voice, smell, even the feel of his skin – there is no doubt in her mind that Miranda is guilty. A shaky democracy has been restored, and Salas’ lawyer husband, Gerardo Escobar, has just been appointed to a commission to investigate the worst excesses of the previous administration.  Much to Escobar’s horror, Paulina pulls a gun, then binds and gags Miranda in the couple’s living room so that she can “try” him for his crimes. Not only does Escobar doubt his wife, but as a representative of the newly restored democracy he is committed to reinstituting the rule of law, although he knows that the commission will serve in large part to whitewash the vast majority of the dictatorship’s crimes. As the story progresses, Paulina becomes increasingly threatening, and Gerardo (uncertain about Miranda’s guilt or innocence, but certain that Paulina’s approach is wrong) ultimately talks Miranda into “confessing” to save his life.

Mandan Khoshnevisan (Paulina), Nathan Dunkin (Gerardo), and Anthony Green (Miranda) give commanding performances, and the contrast between their styles allows the story to flow with unbroken tension, yet not seem like a one-note show. As the dismayed husband, Dunkin displays a constantly shifting combination of frustration, disbelief, egotism, and solicitous compassion for a woman he obviously loves, yet cannot trust. The moment when he begins to consider the possibility that Miranda may actually be guilty is brilliant – just a flash of insight that comes and goes so quickly that he barely acknowledges it even to himself. Green’s performance is colored by shifting emotional reactions as he consistently denies his guilt – self-righteousness, anger, pleading, wheedling, conniving, just convincing enough that we are kept a little uncertain. However, it is Khoshnevisan who delivers a real tour de force. It’s a total joy watching her discard 15 years of terrified victimhood as she claims power over Miranda; she displays a wicked sense of humor, and her fiery strength and often-sadistic attitude drive home the message that karma’s a bitch. While there are elements of ambiguity about the conclusion, it is absolutely clear in the final scene that she has found the healing she sought, and we can only rejoice with her.

Jim Ricks-White, Jeffery A. Smith, and Tiffany Rousseau have teamed up on sound, lighting and technical design to make the walls of The Vault a place of magic as the ocean, impossibly starry nights, and a small taste of a Schubert concert surround the audience with the evocative sights and sounds of a South American coastline.

While Bag & Baggage Associate Artistic Director has co-directed several previous productions, Death and the Maiden is the first show she has handled as solo director. It was a challenging maiden voyage that she handled beautifully; Greer and her team have delivered a powerful show that lingers long after the lights go out.

Death and the Maiden is playing at The Vault, 350 E. Main Street, Hillsboro, through March 25th, with 7:30 p.m. performances Thursday, Friday, and Saturday and 2:00 p.m. Sunday matinees.


Wednesday, March 7, 2018

Mask & Mirror’s Picasso at the Lapin Agile

Jayne Furlong, Chuck Weed, Erik Montague, Steven Sennett, Adriana Gantzer



By Tina Arth


So – a physicist and an artist walk into a bar…could be the beginning of a terrible joke or a wonderful play. Picasso at the Lapin Agile, by the mega talented comic/actor/musician/writer Steve Martin, is definitely the latter. In Mask & Mirror’s current production of this multi-layered work, director Benjamin Philip and his cast capture most of Picasso’s philosophical nuance while delivering a terribly funny evening of sometimes very broad comedy.

Imagine a Paris bar, the Lapin Agile, in 1904. Bartender Freddy is setting up for the evening’s business as a series of characters wander in. First is the curmudgeonly Gaston, grumbling about his status as “newly old.” Next comes Freddy’s girlfriend Germaine, the smart, cynical barmaid. What looks like an ordinary evening shifts with the arrival of a young, socially awkward patent office drone named Albert Einstein. Two more arrivals are the nubile Suzanne and Sagot, a mercenary but thoughtful art dealer – both in thrall to the as yet unseen but much talked about Pablo Picasso. Suzanne wants his body, Sagot the body of his work. Finally, in struts Picasso himself – and thus begins a surreal mental duel between two very different geniuses, each on the verge of work that will set the tone for both the scientific and artistic earthquakes that shake and shape the 20th century.

While the show is in many ways dominated by the interaction between Picasso and Einstein, some of the evening’s best performances come from comparatively minor characters. Steven Sennett is quietly riveting as Freddy, seemingly a bit dense and plebian but always watching, commenting with his eyes on the absurdity around him. It is no mistake that playwright Martin gives Freddy the best line in the play – the one that neatly encapsulates the whole theme – and Sennett’s performance is worthy of this honor.  Diana LoVerso turns in another fine, low-key performance, creating a wryly-intelligent Sagot, a mercenary with heart and taste; her timing is superb and she moves around the stage with the grace of a dancer. On the other end of the spectrum, one character in the show must be played over-the-top – loud, gauche, and just so pathetically wrong – and Les Ico’s Charles Dabernow Schmendiman is all that and more. Ico is a born comic, and he brings all he’s got to this marvelous little cameo of a role.

Erik Montague (Einstein) is earnestly funny in Act I, treating his character with a gently appropriate mockery. As the play progresses, Montague’s performance gets broader, and at some point he crosses the line between absurd and ridiculous (as when he enters with glasses askew after the amorous interlude with the Countess). A little restraint would go a long way toward helping the audience accept that this is, while surreal, still a young Einstein and not Jerry Lewis in The Nutty Professor. Even in mid-run this slight shift could be easily achieved. His artistic counterpart, Blaine Vincent (as Picasso) skirts with excess in a few places, but overall manages to rein in the slapstick while delivering his character’s stunningly egotistical lines with a nonchalant enthusiasm.

In keeping with the reality of 1904 (and well beyond – maybe “time’s up” now?) the primary female characters are drawn largely as accessories. Jayne Furlong gives us exactly what we expect – a “Suzanne” who is flirty, pouty, shallow, easily offended but eager to hitch her wagon to a star. Adriana Gantzer is quieter and subtler as the earthy but intelligent barmaid Germaine. I have seen the part played with more of a coarse, slatternly bent, and I much prefer Gantzer’s interpretation.

The single barroom set, with its lovely faux brick walls, contributes immeasurably to the show’s Parisian barroom ambience. Special props to lighting designer John Swiecick and light board operator Steve Hotaling for a series of carefully timed effects (especially with the much-maligned sheep painting) that work beautifully, enhancing both the comedic and thematic messages.

Mask & Mirror’s Picasso at the Lapin Agile runs Saturdays at 7:30 pm and Sundays at 2:00 pm through March 25th at “The Stage” at Calvin Church, 10445 SW Canterbury Lane, Tigard, 97224.