We take a look at what is being said about the world premiere of Andy Sandberg’s play, running until the 21st November.
Broadway World: “If AFFLUENZA is supposed to be social satire, it fails its objective. If it’s meant to be an eye-opening look into the degradation of the American upper-class, it’s bland and predictable. If it’s expected to be a genre-bending production about the absurdity of life under capitalism, it needs an entire re-write to tighten its aim and actually say something worthy of sitting through it.”
WhatsOnStage: “Quite what Sandberg is trying to say, beyond the astoundingly original observation that money and fame can be corrosive, is anyone’s guess. There are hints of some interesting ideas, particularly in the early scenes when he takes aim at a culture that can litigate its way beyond any moral compass, but the frankly ludicrous sequencing of events thereafter undermines any attempt to develop a coherent theme.”
London Theatre.co.uk: “There is so much potential in the ideas within Affluenza to really analyse the impact of huge prosperity on integrity and human decency.”
The Guardian: “It is hard to decipher what we are watching here – comedy, drama or a theatrical car crash in slow motion. If it is the latter, it is the kind that JG Ballard’s voyeurs watch in Crash, with a mix of biliousness and grimy fascination. How did this epic wreckage occur? Why does it keep getting bigger? You want to look away, for shame, but simply can’t stop gawping.”
Theatre & Tonic: “I’ve no doubt this will attract Stranger Things and Strictly Come Dancing fans, wanting to see Schnapp and Manrara on stage. This is fair enough; however, they shouldn’t go in expecting a punchy legal drama with a satisfying conclusion, justice sought and won. There are the makings of an exciting production in there, but sadly it never bubbles to the surface.”
All That Dazzles: “Affluenza should be one of those shows that you can hear a pin drop in the auditorium long after the final line has been delivered, and with so much potential to really dig deep to analyze how huge amounts of wealth can damage the development of integrity and social awareness, its a real shame that a combination of tangent-filled writing and confusing direction prevented this potential from being reached.”
London Theatre Reviews.co.uk: “The subject matter also feels ripe for exploration, raising interesting questions about wealth, privilege, responsibility and justice.”
London Theatre 1: “It was rather a pity that the play didn’t go on to explore the various avenues and subplots established before the interval afterwards, instead going on a completely different tangent in the second half, essentially presenting a different show altogether, albeit one that could be seen as the sequel to the one in the first half. Thinking about it, Act Two really could have been a standalone single-act play in itself, and a juicier one (if very hammy at times) than Act One was.”
The Spy in the Stalls: “Offering timely social commentary, ‘Affluenza’ shows promise but still needs further development. Though supported by a committed cast, much like Dylan it’s yet to fully realise its potential.”
The Stage: “Stranger Things’ Noah Schnapp stars in this baffling head-on collision of two plays.”
Theatre Weekly: “Affluenza begins with a provocative premise and an intriguing moral question, but ultimately loses confidence in the very story it sets out to tell.”
To book tickets visit: https://mainstageseason.com/show/affluenza/