Double Indemnity

James M Cain, adapted by Tom Holloway

Trafalgar Theatre Productions

Opera House, Manchester

April 28-May 2, 2026; 2 hrs 15 mins

Mischa Barton makes her UK stage debut in Double Indemnity as femme fatale Phyllis Nirdlinger, with Cairan Owens as Walter Huff - the fly to her spider. In case you're wondering, these were Cain's names; they were changed for the movie to Dietrichson and Neff. All pics: Manuel Harlan

It may have been sunny outside, but inside Manchester Opera House it was all grey. The towering, oppressive set and the costumes (Ti Green) reflected the gloom of depression-era 1930s Los Angeles - and unfortunately, like the colours, this production showed little sparkle.

James M Cain’s novel Double Indemnity was famously transformed by director Billy Wilder and writer Raymond Chandler into a gripping film noir – but this stage version, directed by Oscar Toeman, struggles to capture any of the tension, desperation or passion that should run through it.

Life insurance is not the first topic most would think of for a drama – though of course all life is there. (I once did media training for a group of insurance company spokespeople, and opened with what had been a recent front-page picture of the newly engaged Posh ‘n Becks. The ring, his legs, her voice, their wedding plans, the manor house to come – all grist for the insurance mill.)

Door-to-door salesman Walter Huff (Ciaran Owens) should draw the audience in and then carry them with him through his prologue and into the story as he succumbs to siren Phylis Nirdlinger (Mischa Barton, in her first UK stage role). But there is little emotional depth or engagement, and it is hard to empathise – or sympathise - with his plight.

In his efforts to upsell his policies and extract payment from the bored and beautiful housewife, he steps into a quagmire of attraction, greed, excitement and horror that will swallow him whole. But somehow he retains his essential insurance dullness – accurate, perhaps, but not exactly riveting. And speaking of insurance policies, do we all actually now know what Double Indemnity means? I doubt it, but perhaps everyone did in 1936, when Cain’s novel was published and door-to-door insurance men roamed every street.

Keyes, the insurance office manager (Edward G Robinson in the film), is here performed admirably by Martin Marquez, displaying incredulity at the stupidity of the world in general while maintaining a touching dedication to his life’s work.

Double casting is of course ubiquitous in theatres these days, but despite a fine effort by Joseph Langdon, the contrast between the haughty insurance company boss and Phylis’ stepdaughter’s monosyllabic boyfriend is disconcerting.

Mischa Barton’s task is somewhat easier – slinking about the stage in classic femme fatale mode and wrapping the gullible Huff around her well-manicured little finger. She has film star flair and is convincing in her shallow toying with the man who relieves the boredom of her day.

Interestingly she has a lot to say about sexism and down-trodden women – and this theme is echoed in the role of Nettie (Gillian Saker), the secretary who single-handedly keeps the insurance company going. I don’t know if this was in earlier versions; while true and to be applauded, it strikes a strangely anachronistic note.

The first half feels overly long and dry, but this changes in the second half, with some dark humour and more energy. Unfortunately by this time some of the accents had started to slip. Doubtless this will improve.

Like the colours on the set, it was all just a bit dull - film gris doesn’t really cut it. And for a play full of pulsating desire and murderous intent, that really is a capital crime.

More info and tickets here