Review: R.O.I. (RETURN ON INVESTMENT) at San Francisco Playhouse At Creativity Theater

What happens when innovation moves faster than our ability to understand its consequences?

ROI at San Francisco Playhouse dives into the worlds of venture capital, science, and ambition with a story that feels increasingly plausible in our ever-changing technological landscape. Written by Aaron Loeb, the play examines what can happen when brilliant ideas collide with enormous amounts of money, influence, and the desire to change the world—whether the world is ready for that change or not.

Without giving too much away, ROI unfolds with the pacing and intrigue of a great sci-fi Netflix miniseries. What begins in the seemingly corporate world of venture capitalism gradually expands into something far more complicated, raising questions about power, responsibility, ethics, and who ultimately pays the price for progress. S.F. Playhouse embraces that escalation beautifully, allowing the story to grow increasingly unsettling without losing sight of the people at its center.

I went into this one completely blind—as I usually do with plays—and honestly, I was blown away by how captivating it became. I'll admit, the opening had me a little worried. We begin with plenty of talk surrounding venture capital and the finance world, and this theatre nerd certainly isn't going to pretend that's my area of expertise. But as the story progressed, something clicked. I stopped worrying about whether I understood every piece of business terminology and started living inside this world alongside these characters.

By the time the story reached some of its larger revelations, I was completely invested. The play moves at such a sharp pace that it continually gives you another reason to lean forward. There’s also something frightening about how plausible much of it feels. For a story that occasionally veers toward science fiction, Aaron Loeb has created a world that never feels particularly far removed from our own. That, perhaps, is what makes it so compelling.

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Each of the performers brought something entirely different to the equation. Anthony Fusco plays Paul Montrose, a venture capitalist who embodies many of the familiar traits of an old-school finance executive. Fusco found the comedy within that personality with remarkable ease, bringing levity to the story without ever turning Paul into a caricature. His timing was impeccable and provided some much-needed laughs as the stakes continued to rise.

Lauren English was equally fascinating as Dr. Willa McGovern, the quirky, strange, and undeniably brilliant doctor whose work has the potential to change the world—with consequences. English gave Willa an intriguing edge that constantly kept me guessing. There was a sharpness, and at times an almost sinister quality, to her performance that made every appearance feel unpredictable. I could never quite decide what Willa might do next, and I loved that uncertainty.

And then there was Sharon Shao as May Lee, a young venture capitalist whose ambition eventually earns her a place at the table. Shao was absolutely captivating. She brought confidence, intelligence, and vulnerability to May while navigating the increasingly complicated world around her. As the stakes grew, so did my investment in her journey.

Together, these three created a wonderfully balanced company. Their timing was consistently sharp, their chemistry felt lived-in, and the production moved with tremendous momentum because of it.

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Director Jonathan Moscone led the production with tremendous precision. One of the aspects I appreciated most was how carefully the story seemed to breathe. Major moments were given exactly the amount of space they needed, allowing the audience to absorb what had just happened before the play propelled us toward its next revelation. Without spoiling anything, scenes involving Congress and several of the show's final moments were particularly effective because Moscone allowed their weight to settle rather than rushing past them.

Bill English's scenic design complemented that vision beautifully. Sleek, modern, and unmistakably influenced by San Francisco, the environment felt perfectly suited to a story rooted in technology and venture capital. The design provided a clean canvas for the actors while still grounding us in a recognizable version of the city where so many world-changing ideas are born.

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What stayed with me most about ROI was how believable it all felt. Aaron Loeb has crafted a play about innovation and ambition that asks audiences to consider not only whether we can change the world, but whether we always should. In a time when technology seems to evolve faster than the conversations surrounding its consequences, that question feels increasingly urgent.

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