Double Indemnity is a new stage adaptation of James M. Cain’s 1940s novel, by Tom Holloway. It follows the film noir theme of the 1944 film as it tells of Phyllis Nirdlinger who seduces insurance salesman Walter Huff into killing her husband for his life insurance money. The play not explores the act itself but the consequences of trying to live with it and the ill-gotten gains.

The plot builds slowly in Act 1 as the audience watches a game of cat and mouse with motives remaining murky until much further into the play. Whilst the measured approach establishes character and motive it occasionally borders on languid with scenes that feel drawn out rather than suspenseful. The sense of danger that should underpin the narrative takes time to fully materialise. Once the murder is achieved this is where the play really becomes interesting with Nirdlinger and Huff’s plans slowly unravelling. As someone who was unfamiliar with both the book and the film I enjoyed the revelations and the plots twists and turns as act 2 progressed.

Mischa Barton makes her UK stage debut in this show as Phyllis Nirdlinger herself bringing a compelling air of intrigue to the role. However, her relationship with Huff difficult to decipher and unsure how the audience were supposed receive their relationship. This relationship is central to the story and without a full sense of the mutual manipulation or desire their descent into crime feels perplexing and dilutes the emotional stakes of the piece.

Ciaran Owens played the role of Walter Huff with great success. It is Huff who is tasked with the film noir convention of first person narration to the audience and as a result he quickly builds up a rapport with the audience where you find yourself rooting for him, despite his plans. His performance anchors the production, particularly in moments where the script leans heavily on exposition.

The set design by Ti Green was perfect for this genre, with a steel grey imposing room that effectively frames the action on stage and reinforce the noir aesthetic. Enhancing this was the lighting design by Joshua Gadsby who achieved the feat of ensuring all of the action was visible whilst at the same time the lighting being moody enough to complement the rest of the action.

Double Indemnity is a stylish and at times compelling stage adaptation that createsintrigue even if it doesn’t fully sustain its tension throughout. Strong design elements and a confident central performance from Owens ensures that the production remains engaging through an underdeveloped central relationship and uneven pacing prevent it from reaching its full potential. Nonetheless it offers an intriguing take on a classic noir narrative, particularly for those like me who are new to the story.

Double Indemnity is playing at the Churchill Theatre until 25th April. From there it continues its tour. You can find out more and book tickets here.

If you like this review you might also like my review of Witness for The Prosecution, Stranger Things The First Shadow and The Mousetrap.