R.O.I. (Return on Investment) at Hampstead Theatre Review

Written by Becky K for Theatre and Tonic.

Disclaimer: Tickets were gifted in return for an honest review. All views are my own

Content warnings: racism, dementia, cancer 

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Venture capitalism meets dark-comedy theatre? Writer Aaron Loeb makes this unique pairing work in R.O.I (Return on Investment) at Hampstead Theatre. Directed by Chelsea Walker, this new play explores the risk and negligence of ‘big pharma’ capitalist organisations in a humorous yet disturbingly provocative way. 

Capitalist May Lee (Millicent Wong) is looking for her next start-up to boost her net worth. When budding entrepreneur Willa (Letty Thomas) pitches her new technology that claims to preemptively cure cancer and other diseases, the prospect for commercialisation is irresistible. Impressing business partner Paul (Lloyd Owen) along the way, May becomes increasingly aware of the ethical implications behind this vastly growing business, ultimately raising questions on whether pharmaceutical conglomerates are saving or destroying humanity. 

The staging depicts a setting that is familiar to what you might see in a Black Mirror episode. Designer Rosie Elnile plays into the futuristic trope of scientific minimalism with a clinical white room, projections on the white cupboards, completed with an AI talking fridge. Further dystopian technologies also surround the narrative, such as a microchip replacing screens and a VR piano that can link to the speakers. While verging on hyperbole, Walker’s staging sets a farcical tone for the rest of the production. 

Walker also creates some interesting character dynamics between the three key figures. Wong’s strong portrayal of May starts off as a dominant and business-orientated but progressively shifts to highly sceptical and judgemental of the corrupt system that she very much encouraged at the beginning. Contrastingly, Thomas does well to act as an antithesis to May, starting off nervous yet driven to eventually become uncomfortably radical and power hungry. 

In the mix is Paul, where Owen acts as essentially a caricature of the ‘American Capitalist’, who is flirty, annoying and naive. His stereotypical businessman performance offers comedic relief when the play doesn’t necessarily need it, but it lands well anyway. Loeb’s characters are balanced skilfully by Walker, emulating the style of Succession with each character’s distrust amongst one another. 

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. 

★ ★ ★