On first impression, ENRON is a play about Americans, corporate greed, and swearing. At a second glance, it is a play about Americans, corporate greed, swearing, and sex. It is funny how that fourth element changes the entire dynamic of the play. Whilst the rise and fall of the energy company Enron is the central focus, told through the eyes of its CEO Jeffrey Skilling, his fractured relationships and personal unravelling form a poignant subplot.

Rohan Joshi’s portrayal of Skilling captures a man caught in his constructed narrative of success and power. Once a bright innovator with dreams of changing the world, Skilling gradually loses himself, becoming corrupted by ambition and blinded by his desire to win at all costs. However, such a faithful retelling of industrial corruption would not be complete without witty dialogue.

What makes ENRON undoubtedly impactful as a narrative is that it is based on actual events. The play, written by Lucy Prebble in 2009, dramatises one of U.S. history’s most notorious corporate scandals. Enron, once a shining star of corporate innovation, collapsed in 2001 after years of fraudulent accounting practices were exposed by its vice president at the time, Sherron Watkins. The scandal bankrupted the company and shook Wall Street to its core, destroying thousands of jobs and wiping out billions in shareholder value.

Prebble’s sharp and inventive script captures the high-stakes drama of the 1990s, offering an unflinching look at corporate hubris and the dangers of unchecked ambition. Her writing crackles with energy, and the chemistry between the four main characters — Jeffrey Skilling (CEO), Andy Fastow (his protégé), Ken Lay (his boss), and Claudia Roe (his lover and business associate) — elevates the tension and humour throughout. The actors perfectly balance tenderness and absurdity, blending tragedy and wit in equal measure and vividly bringing this corporate downfall to life.

Emily Dodd’s portrayal of Claudia Roe is particularly compelling. Her heartfelt performance as a woman torn between personal ambition and regret feels authentic, especially in a scene where she reflects on whether she played a role in the collapse of Skilling’s marriage. However, even these vulnerable moments are undercut by the ruthless corporate environment. Georgina Cooper’s unsettling depiction of Andy Fastow brings raw intensity, especially in her scenes with the traders, where she lays bare her hunger for power. As Fastow rises through the ranks, she warns the traders that she may soon become Chief Financial Officer — a prophecy that comes true with catastrophic consequences.

Whilst we see the tender moments between Skilling and Claudia that later turn sour, the audience is also reminded of the brutal nature of hierarchy. A telling line eschews from Skilling’s lips: “Don’t read business books. Read Darwin.” Suddenly, the company’s philosophy becomes apparent. This is a world built on competition and survival of the fittest, where human connection is sacrificed at the altar of profit. As the walls close in on Skilling, his lawyer advises him to betray his boss, Ken Lay. Lay — played with great nuance by Sammah Fadalla — represents old-school values that have no place in this aggressive new era. His obsession with Washington’s dinner culture contrasts sharply with the relentless pace of the new millennium.

The question becomes whether Skilling will turn on Lay. Then, it is up to Fastow to turn on Skilling. This chain of betrayals echoes Victor Frankenstein’s struggle to confront the monster he created — a chilling reminder of how power can devour its own. Director Elspeth Rogers ensures this production never loses its momentum. Her inclusive casting brings diverse talent to the stage, and the ensemble injects the show with humour and a surreal touch. Dinosaur costumes make an unexpected appearance (I will not spoil the context), and in a nod to the 90s, we are reminded that Clinton “did not have sexual relations with that woman!” These humorous touches add moments of levity.

Furthermore, the production embraces minimalist staging, with sparse sets and symbolic design choices that allow the story to take centre stage. Shifts in lighting create a distorted and disorienting atmosphere, reflecting the characters’ descent into chaos and deceit. Costumes, mainly business suits, are kept simple, underscoring the corporate world’s cold uniformity and lack of individuality. This pared-down approach enhances the surreal elements of the play, making the sudden appearance of more extravagant touches — like dinosaur costumes — all the more striking.

Ultimately, ENRON recounts more than a mere tale of corporate greed. Despite the characters’ ruthless ambition and questionable morals, the actors make it surprisingly hard not to empathise with them. In brief glimpses, Skilling and even Ken reveal their humanity. It is a stark reminder that in a world ruled by Darwinian survival instincts, hearts exist — it just takes heavy criminal convictions for them to emerge.

[ENRON, a production by St John’s Drama Society, ran at St John’s College, 13th-14th Feb as part of St John’s Arts Week]