Review: Double Indemnity (Richmond Theatre / UK & Ireland Tour)

Review by Daz Gale

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There are certain stories that have shaped an entire genre with their influence continuing through the decades and generations. James M. Cain’s Double Indemnity is one of those stories, both through its 1943 novella and the acclaimed film the following year. More than 80 years later, the story heads to the stage in a brand new adaptation, bringing a sense of noir to theatres all over the UK and Ireland. With a Hollywood star at the helm, it feels like the creative team has all the right elements, but would they be able to pull off the perfect crime, or would it be more of a case of killing the very thing that made the original so deadly?

The phrase “Double indemnity” refers to a clause in insurance policies that promises to pay twice the normal amount if the insured person dies as a result of an accident. This inspires Phyllis Nirdinger and insurance salesman Walter Huff to plot to murder Phyllis’ husband, making it seem like an accident and pocket the money, vanishing into the Californian sunset. However, things don’t go entirely to plan as the conspiracy unravels and mistrust begins to fester. Will they get away with the perfect crime and remain loyal to each other, or will they have other plans?

There is a real timelessness to this production of Double Indemnity, stemming from the usage of James M. Cain, retaining the very essence of his story, while being unafraid to update it thanks to Tom Holloway’s new adaptation. A beautiful use of escapism transports us back to 1930s Los Angeles, meticulously recreating the setting and a classic film noir in live theatre - not an easy task, but one that has been marvellously realised this time around. The nuggets crucial to the plot are dropped gradually, always retaining interest and making for a consistently captivating watch, with every twist, turn and betrayal keeping the audience on the edge of their seat throughout. I must admit to never having experienced the story before, so I was left guessing which way it was going to go until the very last minute.

If Holloway’s writing ensures this is a thrilling piece of writing, Oscar Toeman’s outstanding direction takes this to the next level. A minimalist set design beautifully recreates the black and white movies of the 1940s, providing the perfect setting and giving a less than subtle nod to the film noir genre, within which Double Indemnity so famously sits. Ti Green’s set design never proves dull, despite its minimalism, revealing some surprising transformations, and carrying with it a particularly inspired touch of the Hollywood sign in the background. It is an incredibly slick and stylish production, one that looks every bit as good as the material itself.

Crucially, however, this is not a case of style over substance, with Toeman’s direction making full use of this striking design to hit every beat of the story meticulously, ensuring the maximum impact. Sightings of characters looming in the background and the way each quiet moment can prove every bit as thrilling as the dialogue is a testament to every fantastic touch utilised in Toeman’s direction, resulting in a play that is always exciting. In a week where the other shows I’ve reviewed have had disappointing inconsistencies regarding their direction, it was a real joy to see a play directed as confidently as this one.

Other design elements prove as effective as the striking set design, with a strong use of lighting from Joshua Gadsby, heightening the tension, and showing some great tricks, particularly when the actual murder takes place. However, it is in Dan Balfour’s stunning sound design and composition (with additional composition from Zac Gvi) that truly shine. With a continuous underscoring, the sound and composition amplify the atmospheric nature of the play, ramping up the tension and working hand in hand with the direction to allow every element to land effectively. Double Indemnity is the perfect example of a play being at its best due to the shared vision of all the creatives involved - when there are disputing visions, it is clear to see, and the quality usually suffers as a result. Thankfully, that is not the case this time.

The biggest draw of this production was the UK stage debut of Hollywood star Mischa Barton, perhaps best known for starring in the classic series, The O.C. It is an inspired piece of casting, almost giving a meta feel to the affair, with Barton bringing a sense of glamour to the Hollywood backdrop. The marketing has featured Barton heavily, with a close-up of her face filling the poster for the show, so it may come as a bit of a surprise how little she is actually featured in the play. That said, the time she does spend on stage is incredibly effective, with her magnetic star quality filling the space and tapping into the complexities of her character, Phyllis Nirdlinger. There is an ever-present danger in her character, as she flirts and charms her way throughout the story; it is hard not to become enamoured with her, thanks to Barton’s impressive performance, knowing full well she is playing a dangerous game and the audience is buying into it.

The real star of Double Indemnity, however, is Walter Huff, played by Ciaran Owens in a demanding role that sees him on stage for practically the entire show. As well as the central figure and catalyst to the entire plot, Huff also acts as a narrator, breaking the fourth wall to subtly interact with the audience. It is this touch that almost makes the audience root for the antihero, though Owens’ performance is also a large contributor to that. Dominating the play at every time, Owens delivers a masterclass performance, ensuring all eyes are on him even when another character is front and centre. Owens taps into the cunning and ambitious nature of the character, getting great opportunities to showcase his strengths later on as the repercussions of the crime unravel. It is also a testament to Owens’ abilities that he displays a strong dynamic and differing chemistry with each of the other actors and characters on that stage - another huge reason why this production lands as strongly as it does.

Martin Marquez is another highlight as Keyes, delivering an era-defying performance that feels as if it has been plucked straight from the 1930s. Where the concept of time becomes muddled due to the timeless nature of Double Indemnity, Marquez is one of the strongest contributors to this factor. Sophia Roberts masters the art of patience as Lola Nirdlinger in a slow-burning performance that explodes with life in the second Act, delivering the perfect antithesis to Barton’s Phyllis, and leading to one of the more interesting dynamics with Owens’. Oliver Ryan has a relatively small but memorable turn as Mr Nirdlinger, while Gillian Saker similarly makes her presence felt with brief but impactful moments as Nettie - both attributes contribute to an impressively strong and consistent ensemble cast.

I have to be honest and say I wasn’t sure what to expect with Double Indemnity. Though it is a story and film many have grown up with and loved, I was a complete novice to it. I believe that worked in my favour, as having no other experience to compare this with allowed the production to speak for itself, and in that respect, it did a fantastic job. It may be the star casting that inspires some to purchase a ticket, but this play is a case of a show that puts its money where its mouth is, delivering on almost every front. Strong writing, direction, design and performances make this a perhaps surprisingly well-rounded production - one that I found exhilarating from start to finish. There’s nothing criminal about this production of Double Indemnity,  proving a risk worth taking and mastering the art of suspense, with the payoff resulting in a killer night at the theatre.

Double Indemnity plays at Richmond Theatre until 7th March and continues to tour around the UK and Ireland. Tickets available here

Photos by Manuel Harlan