Affluenza at Riverside Studios

When hit Netflix show Stranger Things concluded at the end of 2025, a frequent question directed towards the young cast was “what’s next?” Theatre is apparently the answer. In the spring, Sadie Sink took on the role of Juliet in a West End production of the famous Shakespearean tragedy. Gaten Matarazzo is currently performing in the 30^th anniversary revival of Jonathan Larson’s Rent. And now it’s Noah Schnapp’s turn to test his acting mettle in Affluenza, a new production at Riverside Studios, which seeks to question whether privilege and moral accountability are mutually exclusive.

Written and directed by Andy Sandberg, Affluenza follows the devastating impact of teenage Dylan’s (Schnapp) reckless decision to drive under the influence. A catastrophic crash with two other vehicles results in at least two deaths and several more rushed to hospital either on life support or facing life-changing injuries. And the culprit at the centre of the crime? Inconvenienced by being under house arrest and missing out on summer activities with his friends, Dylan demonstrates no authentic remorse or guilt for his actions. Affluenza places the blame on his rich parents (played by Juliet Cowan and Donald Sage Mackay) and the morally bankrupt lawyer (Rupert Young) they hire to help absolve their son. He considers the family dynamic and suggests the “affluenza defence”, arguing that extreme wealth and an upbringing consumed by lavish materialism and privilege can prevent an individual from knowing right from wrong or understanding the consequences of their actions. Infuriatingly, it works, and Dylan faces no criminal repercussions.

The first half of the show is a series of scenes exploring the impact of the crash and the decisions of those directly and indirectly involved. All of the cast play dual roles and do so capably. Cowan and Mackay particularly excel as they switch from Dylan’s obnoxious and detached parents to the distraught and broken parents of the victims of the incident; their respective characterisations feeling distinct and genuine. Equally strong is the physical staging, whereby theatre designer Charlie Corcoran ensures that the design exudes affluence. Additionally, splitting the stage between a downstairs living space and upstairs bedroom added an interesting doll’s house effect, allowing the audience to peek into the characters’ lives. Whilst the first act attempts to examine multiple characters and their varying viewpoints on the incident, in comparison, the second act focuses solely on an older Dylan (now played by Young), who now earns a living by exposing his life on reality TV. Despite being the weaker half of the piece, it does, to its credit, explore the voyeuristic nature of reality TV and how immorality is capitalised and manipulated for ratings.

Affluenza is, in a word, frustrating not just because of its complex storyline but ultimately due to the execution. The psychological defence at the heart of the play is only superficially explored, and whilst there are moments of dialogue where morality and the raison d’être of the justice system are analysed, it only skims the surface. It is similarly frustrating how the parents’ wilful enablement of their son’s behaviour and deeply flawed philosophy that money can solve anything is never properly challenged, nor is Dylan ever forced to address the tragic reality of the situation he caused. With his life crumbling into chaos around him, the production seems to be trying to persuade the audience to pity him, but it feels disingenuous to try and elicit empathy in a character who has shown zero remorse or existential suffering for the consequences of his actions. Although the play would’ve benefited from a more nuanced and insightful perspective into these issues, Affluenza is an intriguing look into morality, bolstered by the mostly entertaining performances of the cast.

Sunny Morgan
Photos: Danny Kaan

Affluenza is at Riverside Studios from 26^th September until 21^st November 2026. For further information or to book, visit the theatre’s website here.