Intriguing and powerful, the world premiere of Affluenza at Riverside Studios could be a sleeper hit. Serving as the bold opening production for the venue’s Mainstage 2026/27 Season, Andy Sandberg’s play is a razor-sharp, deep dive into heavy contemporary themes: inherited privilege, moral accountability, and the systemic protections of the ultra-wealthy.
The Stunned Silence of Act One
The production benefits immensely from a masterful set design by Charlie Corcoran, framing a story that grips the audience from the outset. In fact, it delivers one of the most unique theatrical experiences in recent memory: at the conclusion of the first act, there was absolutely no applause before the interval. This wasn’t due to a lack of quality, but rather because the audience was left completely stunned by the unfolding narrative shock, heightened by a tense, atmospheric original score and sound design by Aisha Burns.
Fluid Transformations and a Breakout Star
What makes this exceptional ensemble truly remarkable is how seamlessly they unfold and reform, shifting from one extreme of the social spectrum to another with breathless precision. The cast oscillates beautifully between caricature and devastating realism—moving effortlessly from a hilariously tragic, dipsomaniac Hamptons wife self-medicating her privilege away, to the raw, visceral grief of a bereaved parent fighting a broken system.
Chief among the highlights is a spectacular breakout role for Janette Manrara. Yes, the fan-favourite from Strictly Come Dancing steps far away from the ballroom to showcase an impressive, non-dancing acting range, expertly juggling multiple distinct parts with confidence and physical command.
Alongside her, the production relies heavily on the chameleonic talents of its core ensemble, who brilliantly mirror the play’s dual timeline. Olivier Award nominee Rupert Young (Dear Evan Hansen, Bridgerton) brings immense gravity to the stage, serving as Brad, the conflicted lawyer in Act One, before masterfully morphing in Act Two. He is contrasted brilliantly by screen favourite Noah Schnapp (Stranger Things), who anchors the generational resentment of the piece in his professional London stage debut; Schnapp plays the insufferable, coddled teen Dylan in the first act, before transforming after the interval. Meanwhile, stage veteran Donald Sage Mackay (Girl from the North Country) is fiercely convincing as Dylan’s angrily arrogant, venal father Dennis, playing opposite a wonderfully dazed Juliet Cowan (Broken Glass) as the clueless mother, Ellen. Completing this tight-knit dynamic is Wallis Currie-Wood (Madam Secretary), who provides a sharp intellectual foil as Brad’s court-psychologist wife in the first act before pulling a complete 180 degrees.
If you loved Joshua Harmon’s Admissions at the Trafalgar Theatre – with its similarly sharp focus on privilege, race, and institutional bias – you will absolutely love what this ensemble achieves here.
Room for Growth
While the piece is undeniably compelling, it isn’t without its flaws. The direction and pacing feel a bit uneven at times. As the old theatrical adage goes, one must always consider the separation of church and state—or in this case, the separation of writer and director, both of which are spearheaded here by Sandberg. Consequently, the production could have benefited from an outside directorial eye to smooth out and edit.
Furthermore, the second act desperately needed a bit more meat. While we fully grasped the overarching concept by the interval, the script subsequently leans a bit too heavily into hysterics rather than quiet development. Instead of grounding the narrative, it leaves a lot of loose ends dangling; we needed the play to properly flesh out the characters who weren’t physically on stage to tie the world together, rather than relying on high-pitched melodrama to carry the arcs home.
The Verdict
Despite these pacing hitches, the production remains a thoroughly captivating piece of theatre. In a word: intriguing. Do not miss this thought-provoking show during its limited run in West London.
4 stars for the 1st Act – only 3 for the 2nd.
While the major broadsheets have heavily panned the script’s execution, there is an undeniable, chaotic energy to Affluenza that makes it a must-watch curiosity. Whether you love it or leave baffled, it is undeniably the most intriguing ticket in West London right now.
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