Affluenza review: Noah Schnapp's star power can't salvage this bewildering theatrical disaster

Andy Sandberg's new play, "Affluenza," staged at the Riverside Studios in London, has garnered a review that labels it a "baffling disaster," despite an initially intriguing premise that ultimately "comes off the rails in spectacular, almost fascinating style." The production features Noah Schnapp, widely recognized for his role as Will Byers in the immensely popular Netflix science-fiction series "Stranger Things." Schnapp portrays Dylan, the 16-year-old son of an affluent family residing in their Hamptons estate. The narrative commences with Dylan having caused a fatal car crash while driving under the influence of alcohol, resulting in the deaths of two individuals and injuries to several others.

Within the opulent setting of his parents' home, Dylan's defense is meticulously strategized by a "hotshot lawyer." The parents adopt a defiant stance, attempting to deflect responsibility by asserting, "people died, he didn’t kill them," and seeking to resolve the legal ramifications through the sheer power of their wealth. Meanwhile, Dylan himself remains conspicuously detached from the gravity of his actions, occupying himself upstairs with playing Nintendo, a detail that underscores his perceived immaturity and disconnect from reality.

The play introduces a novel legal defense rooted in the concept of "affluenza." This psychological malaise is posited as a condition affecting the offspring of the excessively wealthy, wherein criminal culpability is shifted onto the parents for their alleged failure to instill proper moral values and ethical conduct in their children. This premise is highlighted as a promising and resonant setup, drawing parallels to real-world legal and social discussions, notably the high-profile hit-and-run case involving teenager Harry Dunn and Anne Sacoolas, where questions of privilege and accountability were central. The review acknowledges the moral dilemma presented by the "affluenza" defense and its echoes of contemporary "victim culture" as compelling initial elements.

However, the review strongly indicates that the play's coherence rapidly disintegrates, leading to a narrative "pile-up" that is as "spectacular" as it is disastrous. Despite Schnapp's presence and the potentially thought-provoking thematic underpinnings, the production is ultimately deemed a significant failure. The extent of its descent into disarray is so profound that, paradoxically, it becomes difficult to avert one's gaze from the unfolding theatrical spectacle, even as it falters for "all the wrong reasons." The Riverside Studios in London serves as the venue for this ambitious yet ultimately flawed exploration of wealth, privilege, and the complex nature of accountability.