Mercedes Murphy, Matt Cadigan, and Nate Musser Photo by Jeff Thomas

In the jungle, Featherbaby joined in the sunrise chorus with its flock, a cacophony intended to let the "bite-y" things in the jungle–snakes ("very bite-y") and ocelots ("who are assholes") at bay. Even after their (Featherbaby's gender is unknown) capture and long journey to a pet store where Angie found them near death, Featherbaby has lost none of their jungle attitude, shrieking and happily making "NOISE! NOISE! NOISE!" and asking all within earshot (likely several city blocks) if they "See me? See me? See me?"

But for Featherbaby, the "unfeathered person" they want most to be seen by is Angie. As Angie tells Mason (Nate Musser), a fellow jigsaw enthusiast she met at a gathering of puzzlers, "we basically healed each other." The healing was necessary as Angie was mourning a breakup with her girlfriend, Katherine, which sent her into a spiral of depression that ended with a hospitalization and a recommendation from her therapist that she get a pet. But Featherbaby absolutely hates Mason, calling him "very crunchable." Featherbaby seems to relish the memory of biting Mason over and over–on the fingers, toes, ears, "all the places that bleed a lot."

Angie, on the other hand, likes Mason. Not only are they compatible puzzlers, each looking for a partner for upcoming tournaments, but Angie has a bit of a crush on Mason, and it's not long before he moves in, despite facing the ire of the foul-mouthed Featherbaby. (This bird, unlike many parrots, apparently doesn't actually speak discernible language, but in his interior monologues–which compose much of the play–his utterances would put him right at home with a crew of sailors: "Piss off! Fuck you! Eat shit!")

When Mason is left alone with Featherbaby as Angie goes off to explore a job opportunity (she's a freelance crime scene photographer, with an artist's eye for blood splatters), the triangle threatens to shatter until Templeton puts all things right in a tidy, rather heartwarming conclusion.

Templeton's play is filled with delightful language, especially for Featherbaby, whose internal monologue is filled with repetitions and boisterous, bouncy sentence constructions. There's a lot of "sexy sexy," "fast fast," and "fuck fuck" and hysterically ego-centric self-referencing on Featherbaby's part.

The cast (under the direction of Skylar Evans) are, fortunately, up to the task of maintaining these rhythms over the course of the two-hour (with intermission) running time. Cadigan is a boiling kettle of energy, bubbling and spattering all over the stage–unless he's on his perch (a raised bar chair as part of Eddy Hansen's set design), under his blue blanket, where he can be more reflective as he comments on Angie's and Mason's activities. Mercedes Murphy gives Angie an easy sensuality when she's wooing Mason, but perks up and feeds off Featherbaby's energy during her interactions with the bird. True to the love triangle trope, it's fascinating to watch the alliances and enmities switch as all three arrange themselves in different dyads: Featherbaby and Angie, Angie and Mason, Mason and Featherbaby.

If it weren't for Featherbaby's nearly non-stop profanity, Featherbaby would be a perfect show for younger audiences. As it is, Featherbaby is a perfectly delightful evening's entertainment for adults, and Templeton is to be congratulated for this fresh, imaginative take on that old theatrical standby, the love triangle.

Featherbaby runs through September 14, 2025, at the Spreckels Performing Arts Center, Bette Condiotti Theater, 5409 Snyder Lane, Rohnert Park CA. Shows are Fridays and Saturdays at 7:30 p.m., with matinees at 2:00 p.m. on Sundays, Tickets are $14-$34. For tickets and information, please visit www.spreckelsonline.com or call 707-588-3400. Box office hours are 12-5 p.m. Tuesday through Saturday and one hour before showtime.