Review: R.O.I. (RETURN ON INVESTMENT), Hampstead Theatre

Willa has an idea. May has the capital. If everything goes right, Willa’s start-up could be life-changing for all involved, as well as the whole of civilisation. Ego and ambition get in the way. Aaron Loeb’s R.O.I. (Return On Investment) reflects on the dilemmas brought forward by the unhealthy combination of rapid technological advancement and the venal nature of our society, and director Chelsea Walker turns his pleonastic title into a sleek production.

Loeb certainly compiles a list of thought-provoking provocations but doesn’t delve into anything that’s not already obvious if you’re of a cynical mind. Predictably, money is the source of all evil, and what begins as a legitimate project to help heal the illnesses of the world becomes a profitable machine. Working around an ethical discourse is fun if it’s matched with a solid story, but the narrative lacks the appropriate pull to properly propel the philosophical side forward. 

The result is a play where the foundation is mostly all there is. Other strands of reasoning spring from it, but the plot is as plain as it gets, unfortunately. Loeb gives us scrumptious morsels to chew on, but never a full meal. From the weight of Big Pharma to the easy manipulation of public opinion, the piece has a lot of excellent, if still embryonic, ideas. 

Corporate comedy and generational strife populate the script, which can be glacial and sleazy when it’s not fizzing with the excitement of medical progress. Though the human side of monetary investment lacks depth, we can’t say that the writing isn’t researched. Loeb, a venture capitalist himself once, clearly knows what he’s talking about.

His dialogue is pointed and quick, relatively natural in its tonal fluctuations, and entertaining in its quips. It has the tendency, however, to push the subtext to the forefront in order to prove its knowledge. In short, there’s not much guessing or suspense to any of it, which is a shame. We’re served each beat before it comes, turning the show into something we’ve already seen – both on the news and in older science-fiction.

Talks of “designer babies” come up again and again, while breast cancer becomes the commercial opportunity that places Willa’s “unicorn company” (a startup valued at over $1 billion) on the map. The brisk hour-and-a-half is enough to present the ethical implications of gene therapy and the chance to mention the threat of eugenics, but not to break these issues apart with conviction. The capitalistic side of it all is offered as a “it is what it is” type of situation – which, granted, it indeed is – but is that enough to build a compelling thesis?

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.

Wong introduces a young woman with exceptional entrepreneurial acumen. It’s instantly evident that May tries hard to be one of the boys: she speaks like Paul, walks like Paul, and thinks like Paul. He made her in his image. Owen projects wealth and confidence. “It’s never, ever bigger than the money,” he tells his protégée between making a smoothie and discussing business whilst doing a yoga flow. As we move along, May grows stronger in her determination and morals, which leads Wong to change her delivery and Owen to double down on his opaque practices.

Thomas is the pivot of the play. Owen and Wong orbit around her, juggling greed and betrayal while she goes from generous innovator to evil genius without much investigation. The character of Willa feels underdeveloped and two-dimensional next to the others, ultimately creating a slanted dynamic that leaves certain aspects of the discussion too up in the air to be entirely accomplished. All in all, this bleak capitalist drama hits a nerve in spite of its shortcomings. It will definitely get you talking afterwards.

R.O.I. (Return on Investment) runs at Hampstead Theatre until 11 April.