Is human life expendable to ensure the survival of the planet? It is a question of few versus many. The actors who comprise the Bartell Theatre production of William Mastrosimone’s play “Cat’s-Paw,” directed by Rob Matsushita, provoke the audience throughout the show to re-examine their definitions of moral and social justice.

In a jarring medley of static and radio excerpts, the audience is immediately drawn into the electrically charged atmosphere of an abandoned warehouse that serves as the headquarters for an organization of self-dubbed “eco-warriors.” Through the chaos, Earth Now attempts to secure revenge for the vitiated flora and fauna of the planet. “Cat’s-Paw” derives its name from the little-known expression for a scapegoat. The cat’s-paw in this situation is David Darling (Marc Huismann), who is taken captive by Earth Now for his role in a previous toxic water catastrophe.

On a humble stage consisting of few props, including a sagging hunter green army cot, barrels of nerve gas and a lacquer table, the production weighs ambiguous social issues. The play’s theme is captured by Darling’s signature phrase, “May I ask a question?” Throughout the course of the 116-minute play, writer Mastrosimone urges the audience to question the ineffectiveness of government, the legitimacy of an unpopular viewpoint, the authority of the Declaration of Independence, the expendability of life for a cause and the impact of humans on the planet.

The importance of the topics highlighted in the play is augmented by the skill of the actors. Huismann portrays the subordination of bureaucrat David Darling through the use of an effeminate voice and a weak shuffling gait. His every move begs for approval. Meanwhile Victor (Patrick O’Hara), the headman of Earth Now, can be described as brusque and controlling, propagating his dominance through use of strong hand gestures. Each move is calculated for its maximum effect and the product is powerful.

The FBI in the play describes Victor as “chilling”; so too is his effect on the audience. Jessica Lyons (Karen Saari), the reporter kidnapped by Earth Now to interview David and make their demands for pure water internationally known, is portrayed as an assertive, cutthroat woman who has conquered a world where only the fastest gets a story.

The chemistry between the three main actors captivates the audience. To convey tension during an interview between Jessica and David, Victor paces in the background indicating his approval or rising anger through the tacit kneading of his forehead and staccato step. Victor, Jessica and David all utilize the entire stage effectively. The tension between Victor and Jessica is palpable as their body language mirrors each other, a small detail indicative of carefully crafted stage blocking.

Only one actress in the cast of four fell short of such an elevated standard. Jessica Warpula (Cathy) lacked credibility, tainting the play’s streak of genuine acting. Warpula delivered one “impassioned” monologue at an unnaturally high octave that seemed contrived, as if the naivety of the character eluded her.

The play draws heavily from American history, seamlessly connecting the social dilemmas of the past with current issues through use of quotes and documents. Victor, who plans to instigate an eco-revolution with car bombs as the catalyst, draws support for his radical cause from the Declaration of Independence. It states, “That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it.”

The play also provides its own twist on the famous quote by Nathaniel Hale, who is remembered for saying, “I only regret that I have but one life to lose for my country.” One Earth Now activist proclaims, “I regret that I have but one life to lose for this planet.”

“Cat’s-Paw” concludes its cyclical storyline with Darling’s hallmark slogan, “May I ask a question?” Even after the cast completes its final bow, the questions the play stirs in the minds of its audience linger. That endurance of thought and emotion is the result of this supremely successful play.

“Cat’s-Paw” runs Sept. 10 through Oct. 3 on the Evjue Stage at the Bartell Theatre.