Despite Rhinoceros’ many parallels to our current cultural moment, this caustically absurdist work by French-Romanian playwright Eugène Ionesco was created in 1959 as a reaction to rising tides of fascism. Rather than focusing on a despotic order of his day, however, Ionesco found an allegorical approach in the tale of a small French town whose populace begin to notice an utterly inexplicable transformation of fellow citizens into rampaging rhinos. Even as the townspeople debate the nature (and even the reality) of these creatures, the morphing accelerates, compelling the remaining humans to reassess their initial opposition to the seemingly unstoppable animals. While Rhinoceros argues that a great many are all too willing to trade individual responsibility for the comforts of group conformity, Ionesco suggests that resistance is possible even against all odds. Doing so, however, requires an acknowledgment of the danger, a prospect likely to be clear when Theatre in the Round Players depicts the unnervingly familiar scenario on its intimate stage.