The Squirrels is a nutty commentary on human nature at Tipping Point
Squirrels are all around us, and always have been. The Squirrels, by playwright Robert Askins, now presented by The Tipping Point, is a novel play, but ultimately feels like there is less than what meets the eye.
Askins is a polarizing playwright, His big hit, Hand To God, had successful runs in London ‘s WestEnd and then on Broadway. The puppet-centric social commentary on religion has a point to make, but is as annoying in its script delivery to some as it is innovative to others.
Likewise, The Squirrels feels like a tongue-in-cheek satire of Cats designed to convey Askins’s thoughts these days on race, fascist government, concentration of wealth and struggle for power. All in all, it feels like the discussion points on this play mirror the coverage on Politico.com in this volatile election year…except with squirrels.
Set in a seemingly ordinary suburban backyard, this dark comedy takes audiences on a wild ride through the tangled web of relationships and ambitions among a group of squirrels.
Directed by Julia Glander, the set design by Sam Transleau (also on prop design) is excellent, a three-tier performance space with each level a big tree stump with brambles and even a bit of trash sized to scale against the stature of the squirrels.
Askins uses the lens of the animal kingdom to shed light on the absurdities and complexities of human behavior. The choice of squirrels is kind of genius because it illuminates some of the wretched behavior of humans by reflecting our worst tendencies in animals that are always before our eyes to see. That some of this tribal animal behavior is close to the truth of the lives of squirrels begs us to do some self examination, and laugh at the similarities between some of us…and squirrels. The play cleverly intertwines themes of competition, survival, and the instinctual drive for dominance, drawing parallels between the animal world and our own.
The characters, despite being portrayed as squirrels, are deeply human in their desires and flaws. From the cunning schemer to the naive idealist, each squirrel represents a facet of humanity, offering a poignant reflection of our own struggles and aspirations. Dave Davies is first-rate as the alpha squirrel, Sciurius. Brian Sage is schemer Sciuridae. Mammalia, the Mama of the drey (a squirrel colony/nest) is played by Brenda Lane. Carolinensis, the young, strong somewhat desperate red fox squirrel is played by Joanathan West. Meghan Vanarsdalen plays Chordata, Sciurius’s daughter. Kristin Shields plays Rodentia, Chordata’s lusty sister. Amanda Buchalter and Mateo Davis play two mostly menacing ensemble squirrels.
The actors, clad in furry costumes (designed by Shelby Newport) go beyond bushy tails to include human clothes to go with each squirrel’s personality. The actors fully embody their rodent counterparts. Along with contemporary references come allusions to classic drama; the Scurius/Chordata relationship, for example, invokes “King Lear.” Askins seems to encourage searches for layers of meaning in the play. Sometimes, though, the actions of the squirrels seem to be delivered by a hammer with Askins. The play has several R-rated sequences, too, that may feel uncomfortable for some. It’s not a play for young kids.
Lighting design by Harley Miah and sound design by Sonja Marquis contribute vital atmospheric to the nest and set, creating natural sounds and the day’s changing light.
At its core, “Squirrels” is a commentary on the nature of power and the lengths to which individuals will go to assert their dominance. Through its unconventional premise and sharp writing, the play invites audiences to question their own assumptions about society and human behavior.