Tag: Sarah Lam

R.O.I. (Return On Investment) by Aaron Loeb, Hampstead Theatre Downstairs, 7 March 2026

Another excellent evening of theatre at the Hampstead Downstairs. We saw a preview of this one, which technically opens on Monday 16th and only runs until 11 April. If the thought of it grabs you, we suggest you grab a ticket while stocks last.

Here’s a link to the blurb and information resources on the Hampstead site.

The play is about venture capital, tech-entrepreneurism, purportedly-ethical-investing and all that sort of thing.

But if that all sounds like a massive turn-off theatrically, don’t be put off. Aaron Loeb has written three all-too-believable, three-dimensional characters who are ensnared, and ensnare each other, in a web of their back stories, ethical dilemmas, rapid technological advancement and the resulting commercial/regulatory environment…with real human interest.

The play reminded me a little of An Enemy Of The People by Henrik Ibsen, especially the Arthur Miller infused version of it I saw so memorably in 1988.

Went To See An Enemy Of The People by Henrik Ibsen (Arthur Miller Adaptation), With Bobbie & Ashley, Young Vic, 9 November 1988

(Aaron Loeb, if by chance you are reading this – that is meant as a compliment).

One conceit of the play – that “the powers that be” might not appreciate a discovery that solves so many problems that their markets and jobs might be eroded – reminded me of an Ealing film I remember seeing on the TV and thinking about a lot as a child – The Man In The White Suit.

Enough about the piece. the acting was excellent throughout. Lloyd Owen, Letty Thomas and Millicent Wong all played their parts superbly well. All three (especially Lloyd Owen and Millicent Wong) were on stage for most of the 100 minutes the play runs, which must take some energy. Chelsea Walker directed the production, making 100 minutes pass without seeming like it was far too long without an interval. But 100 minutes is, by definition, a bit too long without an interval – the audiences aren’t getting any younger, you know.

But my minor quibble is there merely to show balance. This is yet another triumph for the Hampstead Theatre Downstairs. I do hope, for the sake of the wider audience that should see this production, that the production transfers.

Once the production has formal reviews, you should be able to find them for ever through this link …

…or perhaps you’ll simply ask your fridge to call up the reviews for you!

Rice by Michele Lee, Orange Tree Theatre, 30 October 2021

Philip Halling / The Orange Tree Theatre, Richmond

Rice at The Orange Tree Theatre was our first visit to the theatre to see a drama for more than 18 months. There’s been a lot of water under the bridge since then.

The last thing we saw, just before the first lockdown, was Not Quite Jerusalem at the Finborough:

Not Quite Jerusalem by Paul Kember, Finborough Theatre, 13 March 2020

The Orange Tree assured us in its marketing that the theatre is “See It Safely” approved, which no doubt it was. The problem with that level of biosecurity in a small theatre like The Orange Tree is that the safety removes much of the warmth, atmosphere and absence of fourth wall that theatre in the round is meant to provide.

It didn’t help that the weather has turned a bit colder on us – well it is autumn – to the extent that even extra layers of clothing and cushions neither made us feel warm nor comfortable while sitting for 90 minutes plus.

The play was not designed to make us feel comfortable of course – it grapples with relationships, inter-generational conflict, cultural conflicts and international commerce – in the hands of two performers, primarily as a two-hander play but each performer also covers several additional, smaller roles.

As we would expect at The Orange Tree, one of our favourite places, the quality of the acting, directing and production was very high. We have been impressed by Matthew Xia’s work as a director before, both at the Orange Tree and elsewhere.

But this complex piece/production did not really warm the cockles of our hearts, to encourage us to rush back to fringe theatre the way we visited regularly and avidly prior to the pandemic. We’ve booked one or two things for this autumn/winter – we might book one or two more .

We’ll keep our (many) memberships going of course – we are still great supporters but we’re just not in a rush to attend very often – not yet anyway.

Mixed reviews but mostly good ones – accessible through this link.

Chimerica by Lucy Kirkwood, Almeida Theatre, 1 June 2013

Janie and I both really really liked this play/production.

In many ways not the sort of play we normally like. It was quite long and very broad in its sweep – spanning continents and decades.

But it was such a good play and so well done.

Fine cast; not least Claudia Blakley (who we think of as an Orange Tree regular), Stephen Campbell Moore (who I got to know quite well shortly afterwards at BodyWorksWest) and Benedict Wong (who we’ll forever think of as Ai Weiwei – or at least Janie will).

We liked Lucy Kirkwood’s previous play, NSFW...we loved Chimerica.

Click here for a link to the Almeida resource on this Chimerica production.

It subsequently transferred (pretty much intact, I believe) to the Harold Pinter that autumn.

Below is the trailer vid:

It got rave reviews, deservedly – click here for a search term that finds them.

London theatre at its very best.

Factors Unforeseen by Michel Vinaver, Orange Tree Theatre, 16 May 2009

This is one of those rare plays about the workplace; in this case a suntan lotion business. The impecunious Orange Tree is one of the few theatres with solid production stubs going back as far as 2009 – click here for all the details on this one.

As is often the case with workplace plays, this one didn’t quite work for us. The stage was incredibly busy – a huge cast for the tiny Orange Tree. The humour didn’t quite translate/make the grade either.

Still, it was well acted and did provide some interesting points for us to discuss over a Don Fernando Spanish meal afterwards.