Manchester Theatre News & Reviews

REVIEW - Double Indemnity is an atmospheric production with something addictive about witnessing the chase

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We went to the Manchester Opera House to see Double Indemnity. Read what our reviewer Karen Ryder had to say about this enjoyable production...

Murder, greed, ambition, seduction, deceit, boundaries, and willpower. All good company for any crime story, and Double Indemnity holds each of them close to its treacherous heart. The successful crime novel by James M Cain extended its mystique and turmoil when it was adapted by Raymond Chandler into one of the most popular film noir movies in 1944, and now it is thrilling audiences up and down the country, playing out its suspense up close and personal with its live performances in theatres. Adapted for stage by Tom Holloway and directed by Oscar Toeman, the psychological tension and unnerving atmosphere which are key features of film noir are welcomed into the theatre, creating a new, unique, and intriguing experience for audiences. A collective experience, the audience are willingly accountable in a murder plot, held captive by the twists, the breaking of the fourth wall, the stylised notion, the uniquely noir rhythms of speaking, and the ultimate game of cat and mouse.

Double Indemnity is a whodunnit in reverse meaning we immediately find out who has been murdered and who has carried out the twisted deed. Instead of digging around to discover the identity of the murderer, this is a tale of how, why and will they get caught. We explore the ingredients for a perfect murder, if indeed one exists. The bored and manipulative Phyllis Nirdlinger, wife of a rich businessman, needs a flash of spice in her life, some excitement and purpose to escape the bleakness of the formative Great Depression years. She homes in on her prey, insurance salesman Walter Huff. He is beguiled by thoughts of a better, richer, easier life. They devise a prickly plot to murder Phyllis’ husband and claim on the life insurance so they can have a new, wealthy life together. But both Phyllis and Walter are out for maximum payout and so intend to play the system with double indemnity – a clause that doubles the life insurance if the death falls under certain, rare conditions. This means theirs can be no run of the mill murder, and with the stakes so high, can she convince Walter to hold his nerve, especially when the deed is done and his close friend and boss Keyes has to investigate the unusual circumstances. This is a game of discovering that perhaps you are never as in control as you may think you are.

Mischa Barton (The O.C, Lawn Dogs, Invitation To A Murder) is our femme fatale Phyllis and does a remarkable job of beguiling not only Walter, but the audience too. She beautifully steers clear of stage villainy, succeeding in a sophisticated, demure and dangerous seduction that means control is unwaveringly hers, even when it seems like she is the one following orders. Playing a femme fatale, especially on stage, could have easily fallen into a parodied performance, but this couldn’t be further away from that and it is an unnerving joy to watch just how measured and still her considered manipulation is. She is charming, seductive, dangerous, and completely beguiling. Ciarán Owens (Hedda, Cabaret, Grantchester) is her prey as Walter Huff and we see him transform and twist himself inside out as he is caught in the web of Phyllis’ calculated intentions. We first meet him as a confident, charming and charismatic salesman, followed by moments of telltale signs the pressure is getting to him. All the more so as he has no idea he is actually caught in Phyllis’ spell. His breaking of the fourth wall and talking directly to the audience is not only an effective technique that allows the story to keep a relevant pace, but cleverly pulls us further into his world, making us his co-conspirators and wanting to defend him despite his heinous actions. We see him have moments of diminishment and humanity, both emotionally and physically throughout the play, interestingly gaining empathy from the audience. He has done the worst thing possible, but we are continually invited to view him as another victim in the whole sorry affair. The chemistry between Barton and Owens is alive. It dances, it changes, it morphs to match their tumultuous relationship, but it is always alive and we feel every crackle, every fizz, and every pulsating heartbeat.

Martin Marquez (The Unbelievers, Guys & Dolls, Hotel Babylon) as Keyes brings us certainty where there is none and a dogged determination, gruelling grit, and moral compass of the show. This is challenged by loyalty, friendship and love as he discovers what Walter has done, with a surprisingly touching outcome. It is a strong and authoritative performance that allows the audience to feel grounded amongst the dark shadows. He has created a no nonsense gravel in his voice for the role and it gives the character gravitas throughout, as do his moments of deadpan humour. This performance is incredibly believable and you thoroughly invest in the character because of it. Oliver Ryan (The Tempest, Dr. Faustus, Romeo & Juliet) is our hard faced Mr. Nirdlinger and definitely brings a presence to the stage with his characters macho arrogance. He is intimidating and overpowering and leans into all the characters negative qualities with ease, leaving the audience with little sympathy towards him so that we don’t question why he would perhaps be Phyllis and Walters target. Sophia Roberts (Much Ado About Nothing, The Seagull, Midsomer Murders) brings out the empathic underlay of the play as Mr. Nirdlinger’s daughter Lola, and we are able to engage and feel through the eyes of her torn character. She also plays it with just enough intrigue that you can’t help but wonder if she is another Nirdlinger trying to pull the wool over your eyes, or if she is genuine.

Set and costume designer Ti Green has done a remarkable job of capturing the dark, brooding and kind of cool vibe associated with Film Noir with a minimal set, keeping costumes of the era too. We fluctuate between the wealth of the Nirdlinger mansion to the dark corners of the city, where secrets are born and fates are decided. Scenes also play out with intrigue on the railway tracks, the insurance offices, Walters flat, and the tough Hollywood streets, each clearly designed to provide location and meaning. The set plays with dimensions, creating a narrowing tunnel towards the back of the stage where we can just see flashes of the Hollywood sign. Josh Gadsby has worked expertly alongside this theme as lighting designer, creating menacing shadows, and drenching the stage both subtly and obviously with blood red lighting. Less is definitely more in this production, creating space for secrets to dwell and clues to be dug out in plain sight. The audience are trusted to use our own imaginations to fill in the gaps and this pays off way more than if the set would have been lavish and over indulgent, for we can draw our own conclusions based on how much we are seduced, manipulated and persistent.

Double Indemnity is an atmospheric production that throws you into the realms of inclusion, with the actors making it clear that to witness it, makes us complicit. This sits seductively alongside a dark and dangerous world in the heart of the supposedly glamorous Hollywood, ensuring our messages are always mixed, just like the morals in the story, and it keeps us on our toes. Whilst some audience members commented that not much happened in the first act in terms of story, and it could have been more succinct, others loved being taken along for the ride and enjoyed the luxury of time afforded. Knowing who the murderer is from the off and watching them be friends alongside those who are hunting them makes it a little clearer to see why The Traitors is so successful. There’s something addictive about witnessing the chase, seeing who will win, and often surprising yourself with who you are rooting for! It is mesmerising to see a story play out where the murderer is trying to outsprint consequence, and believing they can win, for make no mistake, the moment you shake hands with the devil, the trap is set, created of your own accord and impossible to escape. The ending of this stage play is slightly different to the film and though it ends quite abruptly and perhaps raises a few unanswered questions, it found a way to make this popular story end with a surprise, pulling the rug from underneath your feet, a rug you thought you controlled, but perhaps that is the biggest mistake any of us can make. To believe in your own hype, your own inflated confidence that you are untouchable, is deadly. Double Indemnity is an enjoyable night at the theatre. It is fast space with its speech, intriguing, and brings a popular style to the stage with flair. Does the perfect murder exist? You’ll have to go and find out for yourself.

WE SCORE DOUBLE INDEMNITY...