Steve Martin’s 75-minute play “Picasso at the Lapin Agile,” which opened to sold-out audiences last weekend at the Cyrus Pavilion Theatre, is a lot like Steve Martin the TV and film actor. When it’s funny, it’s hilarious and smart, and when it’s not, it’s ridiculous and corny.

Even though several of the characters in this play are heavies from the 20th century – Pablo Picasso, Albert Einstein and a secret “visitor” – and even though the ideas resonate with important questions about life, genius, art and celebrity, the play never climbs any higher than an entertaining diversion about avant-garde neighbors in a bohemian bar in 1904 Paris. It’s part Tom Stoppard, part “Saturday Night Live” and a lot of Martin’s quirky absurdness. On the other hand, if you have any love for the early moderns, then this play will tease your imagination like a glass of absinthe.

The central action of “Picasso” is a fictional meeting between Picasso and Einstein when both were in their 20s and had full heads of steam about the promise of their contributions to the future. The lineup of characters also includes a paramour of Picasso, an art dealer, a countess, and Charles Dabernow Schmendiman, a wannabe with aspirations to be more famous than his contenders in art and science.

Despite the spirit and appeal of the UM production directed by Marcia Joy Douglas, it lacks an organic balance between the high ideals at the play’s center and the lowbrow delight of Martin’s contemporary humor. On opening night, some of the actors seemed as if they had stepped out of a pouty “Friends” episode, a disjointing choice on the part of the actors and the director. But it’s only fair to say this lack of texture is more of an occasional flaw than an overall failure for a show that is generally fun to watch.

Having seen several productions of this play, I am more and more convinced that fun, more than anything else, is its goal. During a 1996 off-Broadway run, “Picasso” won several prestigious awards and respect for Martin as a serious writer of heady entertainment. It has since become the darling of regional theaters because it’s easy to produce and has a manageable number of good roles. The play works best, however, in the hands of daring college students, the ones who fearlessly grab hold of a character and run with it.

This is admirably true of several performers in the University of Maine cast. Josh Leigh, as the elderly Gaston, spends his time drinking and eavesdropping, but his real contribution is natural wit and sharp timing. Assured and elegant, Leigh takes full advantage of the script’s humor but tempers himself so naturally that he never steals from co-actors. When it’s time to disappear, he does. When he speaks up again, it’s like hearing from a trusty friend.

Kathleen Worcester, as a waitress, and Paul Brown, as Einstein, also show theatrical maturity and fluidity. They take on their characters fully, but don’t slip into overly crafty gimmicks – a real temptation in this surreal story. Jeremy Towle, who plays the secret visitor, is a gas in his all-too-short role. Behzad Habibzai plays classical guitar throughout much of the play and is a valuable and poetic presence. Nathan Dore’s Picasso is rightly macho, and Dale Knapp, as Freddy the bartender, is often amusing. Hillary Roberts, as a fan, makes a brief and bright appearance.

The School of the Performing Arts will present “Picasso at the Lapin Agile” 7:30 p.m. Oct. 25-27 and 2 p.m. Oct. 28 in the Cyrus Pavilion Theatre at the University of Maine. For tickets, call 581-1755.