“The Squirrels,” a dark comedy that explores wealth, race and power inequalities through the lens of squirrels, is multi-faceted by design. On one hand, it is a satirical romp, on the other, it is a warning and social commentary. In convergence-continuum’s production, talented actors ensure that hilarity reigns, but thanks to challenges posed by the time we live in, the effectiveness of the commentary wanes.
“The Squirrels” follows Sciurus, patriarch of a family of wealthy gray squirrels. He lives peacefully with his partner and two daughters, but winter is approaching troubles are brewing in the larger squirrel world. When Sciurus is approached by outcast, starving fox squirrels to share the large hoard of nuts he’s accumulated, deep-seated prejudices, egos and selfishness lead to a conflict that threatens to devolve into an all-out war.
Upon opening the playbill for “The Squirrels,” you’ll find a note from convergence-continuum’s dramaturg, Klae Bainter. Bainter says that “the play pushes us to confront the destructive forces that abound in our society; including unchecked capitalism, the conflict for some to choose individualism in favor of community, billionaire agenda over working class ethos, and the rise of authoritarian ideologies–all of which are explored through the lens of animal behavior and survival.”
Were we watching “The Squirrels” when the show first premiered, this statement would feel more accurate. The play premiered in 2018 to rather positive reviews that remarked on how the script was rife with allegories warning about the destructive nature of wealth and power disparities. In 2025, not only are we in the first few months of a new, highly controversial administration making headline news every day, but J.P.Morgan has just estimated the chance of a U.S. and global recession by the year’s end at 60 percent.
Do we need a “lens of animal behavior” to “push us to confront” the issues that are crowding the news on a daily basis? I surely expect not; unless you are living in a tree hollow, these issues are currently pounding down your doors, demanding to be addressed. But, “The Squirrels” is good for a laugh, and we certainly need more of that right now.
Written by Robert Askins, playwright of the Tony Award-nominated show “Hand to God,” “The Squirrels” is undeniably hilarious in the way it asks actors to portray the fluffy, chittering rodents that populate our backyards. convergence-continuum’s artistic director and the director of this production, Cory Molner, is most successful in his embrace of the satire of this show.
The troupe of actors hold their hands like paws, perch on branches, vocalize chips and chirps and gnaw on nuts with laughable enthusiasm. Entertaining fights between the squirrels are well-choreographed by Natalie Steen. Even these sometimes gory interactions are laced with absurdity that gives way to laughs. Each sports a fluffy tail and is dressed in clothing that reflects their character’s personality by costume designer Scott Zolkowski.
Zolkowski is also responsible for the tree in which the squirrels reside. The stage features an impressive tree trunk with many levels and entrances; it would be the envy of any children’s (or squirrel’s) playground. Lighting designer Robert Wachala employs filters that replicate light being cast through branches while sound designer Leo Fez uses layered birdsong to help portray the forest setting.
Joseph Milan is properly stoic and stern as the father figure, Sciurus. As an older squirrel at the ripe age of five, Sciurus experiences memory problems. Milan’s depictions of confusion and frustration during these moments are especially convincing. Sciurus’ partner, Mammalia, is a fiery, entertaining force well portrayed by Ami Collier.
Sciurus and Mammalia have two daughters; Chordata and their adopted daughter, Rodentia, a fox squirrel they rescued as a baby. Hannah Rutkowski portrays Chordata’s disgruntlement with her hoarding father and her desire to care for those less fortunate with authenticity. An equally captivating performance is delivered by Hannah Storch as Rodentia, a more jealous, self-serving character.
The daughters each have a budding romance, Chordata with the fox squirrel leader, Carolinensis, and Rodentia with an ambitious newcomer gray squirrel, Sciuridae. Calvin Adkins puts on a sound performance as Carolinensis, a generous leader and hero figure. Adkins’ goodness is contrasted by Vince Stillitano’s Sciuridae, who whispers dark suspicions into Sciurus’ ear. Should all of these character relationships sound familiar, we have William Shakespeare and “The Tragedy of King Lear” to thank.
Some of the most humorous portions of the show occur between Storch’s Rodentia and Stillitano’s Sciuridae; their large personalities and absolute embrace of the absurd leads to laugh-out-loud interactions.
Askins’ exploration of squirrel culture and society, whether that be through dialogue pertaining to age, copulation, reproduction or locale, fuels much of the show’s humor. Fueling it even more commonly, but far less effectively, are the tons upon tons of squirrel puns. “Squeak,” “squawk” and “muck,” a term the squirrels use to express affection in both the physical and metaphorical sense, are used so often that it will drive you nuts.
Watching actors scurry around a stage as squirrels confronting wealth inequality is unquestionably entertaining–it would be even more so were we not living in the throes of our own social, political and financial crises daily.
“The Squirrels” runs through April 19 at convergence-continuum, 2438 Scranton Road, Cleveland. Visit convergence-continuum.org or call 216-687-0074 for tickets, $18-$23.
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This article appears in Cleveland SCENE 3/27/25.