Sixty-two years after his death in 1955, Albert Einstein may be best known in American pop culture for that silly photo of him sticking out his tongue. Pablo Picasso may not be known by most American millennials at all.

If so, no matter. Both men are brought to life as vivid and vibrant characters in The Actors’ Group’s production of Steve Martin’s absurdist intellectual comedy, “Picasso at the Lapin Agile.” Last staged here by Manoa Valley Theatre in 1999, it is just as entertaining at TAG.

Martin imagines Einstein and Picasso meeting by chance in a bar in Paris in 1904. Both men are on the verge of becoming cultural icons. Einstein will publish his theory of relativity within a year; Picasso will complete a career-milestone painting, “Les Demoiselles d’Avignon,” in 1907.

Picasso and Einstein become the principals in a wide-ranging conversation about the relative value of genius and talent in the creative process, the nature of relationships between men and women, and the wonders to come in the 20th century.

Randall Galius stars in the title role. Amy K. Sullivan plays Einstein.

Galius doesn’t appear until Act I is well along, but his arrival gives the show a powerful shot of testosterone that he maintains throughout. Galius plays Picasso as a self-absorbed tomcat ever on the prowl, possessed with quick wit and undeniable charm as well as an enormous ego.

Kevin Keaveney (Schmendiman) is the other powerhouse presence. He is the bombastic inventor of a “brittle and inflexible” building material that — he says — will make him one of the most famous men of the new century.

Marcus Lee (Freddie) uses his expressive eyes to convey a world of emotions. Susan Bruhl (Germaine) is consistently condescending as his promiscuous girlfriend. Stu Hirayama (Gaston) is delightfully droll as a straight-talking old man. Christine Umipeg-Apilado (Suzanne) soars through a broad spectrum of emotions as a woman who discovers to her chagrin that Picasso doesn’t recognize her.

Sullivan is agile and effective in playing Einstein as brilliant but fluttery.

The punchlines range from the obvious, such as a reference to a camera-carrying Japanese tourist, to a one-liner that requires knowledge of Picasso’s “African period” and the roots of rock ’n’ roll to appreciate.

A wig and moustache help Sullivan succeed for the most part in overcoming the challenges inherent when a woman plays a male character. Victoria Brown-Wilson (Clovis Sagot) is provided with neither and therefore looks like what she is — a woman performing in men’s clothing. Add makeup that gives her face a decidedly greenish tinge under the stage lights and she is forced to carry an unnecessary burden.

Don’t let that keep you from enjoying “Picasso at the Lapin Agile” at TAG.