Riverside Studios, London
Andy Sandberg’s play gets off to an intriguing start before coming off the rails in spectacular, almost fascinating style. For all the wrong reasons, it’s hard to look away
It starts off with a car crash, and enters its own pile-up before your eyes. There is some initial coherence, at least: Dylan, the son in a filthy rich family, played by Netflix star Noah Schnapp, has killed two people while drink-driving and injured several more. His parents, at their Hamptons home, are hashing out Dylan’s defence with a hotshot lawyer. They deny he did anything wrong – “people died, he didn’t kill them” – and throw money at the problem in hope it goes away. All the while, 16-year-old Dylan plays Nintendo upstairs.
An original legal defence is invoked, along the lines of the poor little rich boy, suffering from “affluenza”, a psychological malaise in which a crime becomes the fault of wealthy parents who have failed to teach their progeny right or wrong. It is an intriguing setup with some parallels to the hit-and-run case involving teenager Harry Dunn and Anne Sacoolas. Its moral dilemma is promising, its echoes of victim culture resonant.
