AUBURN — Under the capable direction of John Blanchette and aided by a terrific stage crew, Community Little Theatre’s current production of “Picasso at the Lapin Agile” is a visual and temporal wonder, with a very talented and animated cast bringing comedian Steve Martin’s madcap play life.

Martin’s ambitious play may appear to be simply a full-fleshed clever “Saturday Night Live” skit. It is that, but so much more. The play is an imagined meeting in 1904 of Albert Einstein and Pablo Picasso at the cabaret Lapin Agile in Paris, and offers a humorous review of the 20th century by predicting the wonders to come in the newly arrived century. If that sounds elliptical, consider the theories of Albert Einstein and you get a glimpse of how this is going to unfold.

As the play opens, Picasso has already attained a celebrity status at age 23, at least locally. Albert Einstein, at the age of 25, is just formulating his special theory of relativity.

As a playwright, Martin’s untethered sense of humor ranges wildly from trashcan to treasure chest, from the obvious to the obscure. The obvious arrives in the first line of dialogue as Freddy the bartender, while sweeping the floor before opening, says with seeming philosophical prescience, “There’s something in the air tonight.” Then he sneezes, completing the obvious joke. There then ensues almost infinite opportunities for laughter and bemusement in coarse and bawdy barroom humor as well as soaring satire involving metaphysics and art.

The plot is full of non sequiturs that eventually loop back upon themselves to resolve later. The play also takes pokes at itself as it explores the old question “what is funny?” It dissolves the traditional “fourth wall” of theatrics almost immediately and uses it brilliantly to bring the audience’s consciousness into the minds of the eccentric genius of Picasso and Einstein. There is, perhaps, an oblique reference to Schrodinger’s cat, for those are familiar with it. Or perhaps not.

A wonderfully comfortable barroom is staged perfectly with a huge pastoral painting at the center back. This soon becomes the center of attention, and the center of conversation. Clever lighting is used effectively (notice, for example how the drinks have a jeweled radiance) and unexpectedly when a group photo is taken. These details are both subtle to the eye and startlingly sensory, as is the smart dialogue that is so well delivered by the cast.

Sarah Duncan, as Germaine, the bawdy waitress and girlfriend of the owner/bartender Freddy (Jason Pelletier), is absolutely fetching and endearing. She plays the role with a ribald wisdom and intelligence that would make any male patron pant and every female patron an immediate confidante. Pelletier’s Freddy and the apparent regular customer Gaston (Christian Kuhithau) are great, having an obvious ongoing history that makes their repartee and interactions comfortable, believable and light.

Tony Roy is Albert Einstein in both physicality and disposition. His absent-mindedness is countered wonderfully with the clear passion for what only his mind can grasp as he tries to convey it to others. Roy is a charm, and a perfect opponent as scientist to contest the upstart Picasso as artist.

Just as passionate is Pablo Picasso, played by Brian Pfohl. He is lusty and charming as well as angst-ridden over his misunderstood talent. He and Roy, as the two intellectual combatants, play well together as they oppose one another on one hand and validate one another on the other.

Sophie Messina as Suzanne is delightful as Picasso’s love/lust interest as she navigates the hazards of handling her celebrity paramour. Messina, splendid in that main role, was also wonderful in two supporting roles, flying in and out of the barroom scene.

(It should be noted that while Messina played those roles for the first weekend of CLT’s production, the roles for the second and final weekend of performances will be played by Bryce Smith. This reviewer did not have the pleasure of seeing Smith in the roles before this review, attending instead the full dress rehearsal last week. But at that performance I noticed Smith in the audience watching Messina play Suzanne. Smith’s eyes virtually sparkled as she silently mouthed Suzanne’s every line. I predict she will be excellent in the roles as well.)

Roger Philippon as Sagot, the art dealer, is terrific as the rambunctious, hard-drinking businessman with the sly acumen of a grifter.

Dan Kane as Schmendimann is bigger than life, a snappy dresser and a man with grandiose ideas that will leave you scratching your head in wonderment.

And last, but certainly not least, Gerry Therrien as the “visitor” brings the entire Einsteinian ellipse full circle and helps us comprehend the boundaries of genius.

A tremendous group of talented theater people has collaborated to present this ambitious production of Steve Martin’s wonderfully funny and thought-provoking play. Their efforts more than do it justice. George Saunders once said “Humor is what happens when we’re told the truth quicker and more directly than we’re used to.” “Picasso at the Lapin Agile” exemplifies that in every way, and this cast and crew deliver an encyclopedic volume of humorous truths quickly, directly and passionately. It truly is a lapin agile, a nimble (and entertaining) rabbit.

Performances are Thursday through Saturday, June 22-24, at 7:30 p.m. and Sunday, June 25, at 2 p.m. For more information, go to laclt.com or call the box office at 207-783-0958.

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