Jamie Griffiths is not a quantitative analyst in the City. He’s an actor and playwright. Not a “quant”, a risk-taking star of the city betting and hedging and ducking and diving and making billions and then losing some and panicking and covering his tracks. But his hard, chiselled smartness and edgy delivery ring so true that at times in this remarkable monologue you drift into thinking the performer is telling a true story.

- Libby Purves,


It’s a formidable performance though, on an important subject, and one that deserves more attention on a Fringe that often seems obsessed with the personal and sexual, and largely indifferent to the political and financial infrastructure that shapes the world we live in.

- The Scotsman


The show is perfectly pitched, and Griffiths’ performance is so engaging that you almost find yourself feeling sorry for the Quant – until you remember that he is betting on people’s misery.

- The Stage


The Quant simply reaffirms the fears that the UK could be sleepwalking its way towards another financial cliff. A compelling and frightening piece of theatre.

- FringeReview


a show worth catching for anyone interested in the shadowy world of high capitalism.

- BroadwayBaby


This solo show from Jamie Griffiths covers much the same ground as Martin Scorsese’s Oscar-nominated blockbuster The Wolf of Wall Street. The difference is that while the latter was a grandiose exercise in excess, using gaudy broad strokes to critique hypercapitalism, The Quant is a much more thorough portrait of human greed and corruption.

- Fest


It’s an enjoyably tense performance, full of nervous energy, the dark portrait of a man embroiled in a system that takes no prisoners. It tells a story that is both highly topical and as old as time.

- A Younger Theatre