Take a look at how critics have been reacting to Aaron Loeb’s play.
The Guardian: *** “Aaron Loeb is a businessman as well as playwright and it shows: his play zings with quickfire patter between May and Paul, a certain Mamet-esque sparring reminiscent of Glengarry Glen Ross. Its aim to show us what might happen when a big scientific breakthrough is funnelled through the machinery of venture capitalism is ambitious but a little too hectic.”
Broadway World: *** “Walker’s direction is buzzing and effective, making full use of Rosie Elnile’s businesslike, clean set by having the actors pace and stalk. Millicent Wong (May), Lloyd Owen (Paul), and Letty Thomas (Willa) are a cohesive front of controlled passion. Their well-intentioned veneer is torn and rebuilt cyclically in a stream of cautious duplicity. Nobody’s motives seem genuine.”
Everything Theatre: **** “R.O.I. is a worryingly bleak insight into the intersection of medicine and commerce. Strong performances propel the at times complex language of the play’s world. Though the fraught momentum couldn’t quite be maintained for the entirety of the ninety-minute runtime, Sarah Lam as The Woman brings the play to a painful conclusion – one that encourages you to think about the stakes of private investment into human health.”
London Theatre 1: **** “It’s dystopian, but nuanced – there’s none of the overt brutality of, say, The Hunger Games. But what goes on amongst those who have plenty of cash is revealed in a ‘warts and all’ script – behind closed doors are the sorts of comments that, if they were repeated on social media, would get the characters cancelled. Completing the cast list is The Woman (Sarah Lam), who has a brief but nonetheless pivotal role in a longitudinal story. Subplots about early-onset dementia and how personal data waivers can be misused provide extra moral issues to think about. A thoughtful and convincing production.”
All That Dazzles: **** “R.O.I. (Return On Investment) is a thrilling and unpredictable ride from start to finish. Taking the audience on a speedy journey through the present day and the future, its ability to touch on timely themes and blur the lines between science fiction and seeming inevitability makes for a truly powerful watch in a story that is far bigger than the space it is in.”
British Theatre Guide: “Loeb, who has previously himself been a venture capitalist, presents situations that can move quickly from joyful to icy and can sometimes be funny. While desired development can arrive rapidly, Letty Thomas gives us a presentation in depth of Willa whose attitudes are changing. Millicent Wong’s May has been strongly encouraged by Lloyd Owen’s Paul who would like ever more wealth, though he likes to present a relaxed, folksy persona.”
The Spy in the Stalls: **** “The cast is accomplished, albeit working with characters that function largely as cyphers. The storytelling, however, supplies enough twists to match those of a corporate knife in the back.”
Theatre & Tonic: *** “Performing at Hampstead Theatre until 11th April, Loeb’s UK debut satirically mocks the people at the top of the capitalist food chain, while producing a concerning reflection how private investment successfully controls human consumerism, prioritising income over morals.”
The Stage: **** “Incisive, satisfyingly thorny study from Aaron Loeb of the dangers of runaway scientific advancements and extractive capitalism.”
The Reviews Hub: **** “Director Chelsea Walker, a Hampstead Theatre regular, keeps the plot humming briskly and brings out a claustrophobic edge to ongoing machinations. Rosie Elnile’s corporate office set sees desks and a table slide out from the backdrop, hinting at hidden influences on unfolding events.”
To book tickets visit:https://www.hampsteadtheatre.com/