Double Indemnity
Spark Gap
Double Indemnity
by James M Cain, adaptation by Tom Holloway
Trafalgar Theatre Productions at Richmond Theatre until 7th March, then on tour until 9th May
Review by Eleanor Lewis
Insurance salesmen don’t immediately bring to mind the idea of suspense and high stakes, passion-fuelled murder carried out in great style. This didn’t matter to James M Cain who wrote the book upon which this adaptation by Tom Holloway is based, nor did it prove an issue for the ensuing film based on Raymond Chandler and Billy Wilder’s screenplay, but a stage is a different arena and presents a new set of challenges.
The current touring production of Double Indemnity, at Richmond this week, has risen boldly to some of those challenges. Ti Green’s grey, industrial but indistinct set dominates. At times it seems to be a vast ventilation system giving the human characters scurrying about in it the look of insects, or rats. It morphs into train stations, living rooms and offices, and together with Joshua Gadsby’s stark lighting it is an appropriately film noir evocation of depression-era America where life is hard, familial relations are strained, and no allowances will be made. Convincingly driving and parking a car however, albeit a stylised car on a stage with an audience willing to go with it, is a detail that’s been rather overlooked.
Narrated by insurance salesman Walter Huff (Ciarán Owens) speaking directly to the audience from the start, Double Indemnity is the story of Huff and the irresistibly beautiful Phyllis Nirdlinger (Mischa Barton). The two meet, fall in love, and plan to murder Phyllis’ husband and claim the double indemnity payout from an insurance policy Huff has sold to him which will pay double for an accident caused by a train (such accidents were, at the time, rare). The plot itself is no doubt well-known but spoilers will not be provided here.
A significant issue with this production is the lack of sexual chemistry between Ciarán Owens’ Huff and Mischa Barton’s Nirdlinger. Huff, as played by Owens is fine but he’s much more of a jaded insurance salesman than anyone in the grip of uncontrollable passion. Similarly, Barton’s Nirdlinger is icy cool and more intimidating corporate boss than femme fatale (Nirdlinger’s wardrobe doesn’t help here, aside from the opening scenes, she’s dressed for the boardroom or fashionable après-ski). Seeing these two as a couple overwhelmed by obsessive love is therefore a bit of a stretch. This coolness between the two may be a result of direction (Oscar Toeman), or it may not, but either way they’re not creating much spark.
There is more to this work than the story of Huff and Nirdlinger though. Huff is mentored at work by his immediate boss, Keyes (Martin Marquez). Keyes is, in the gruff, masculine way of a man of that era, fond of Huff and whilst no mention of Marquez’ private life is made, probably views him as the son he may not have had. There is also Nirdlinger’s stepdaughter Lola (Sophie Roberts) who, whilst tolerating her stepmother, has questions to ask and instincts that will not be ignored.
The first act rather drags, the set-up seems long and investing in any character other than Nettie, super-efficient secretary to Huff and Keyes – an attractive performance by Gillian Saker – takes effort. Even sympathy for Nirdlinger’s doomed husband (Oliver Ryan) is tricky. The pace picks up in Act Two though, not least because of a stand-out turn from Martin Marquez as Keyes who, alongside Saker and Roberts seems to be giving a full-on 3D performance. Marquez’s Keyes is a fully rounded human being, he’s a man of his time who has worked himself up to where he is, knows what he is doing, is clever, passionate but unsentimental and his friendship is definitely worth having. None of this is stated, it’s apparent from Marquez’s performance. Keyes is a very likeable insurance salesman. I am rooting for Keyes, I want him to be OK and to succeed (he does not need my help), I’m not really bothered about Phyllis and Walter!
There is much to recommend the idea of this production though, the little Shakespearean references “something rotten in the family” and a couple of others give it a timelessness and a bit of depth worth noting. The question of what human beings might do when they are under pressure and unhappy across the board is successfully clear and thought-provoking. The set is impressive – the production looks great – the supporting cast, lighting and sound are strong but the core of the thing, the passion that should overwhelm it, is sadly missing.
Eleanor Lewis, March 2026
Photography by Manuel Harlan
Mark Aspen 