Reviewed by Sophie Rowley
Opening Night verdict ⭐⭐⭐
Credited as “one of the great crime novels of the 20th century” the 2026 stage adaption of Double Indemnity is now showing at Manchester’s Opera House. Originally a novella by James M Cain in 1943, then in 1944 a classic film noir film by Billy Wilder, and now Tom Holloway, Oscar Toeman and their creative team present a reimagining of Cain’s story which promises to thrill and delight audiences with a stylised immersive production of this film noir classic.
The 1930’s aesthetic is told through a stylised theatrical lens, Holloway and the team lean on every Noir nuance of shadow lighting and sharp design, smoke effect and dialogue to depict a period which is renowned for decay and depression, greed and corruption. When Phyllis Nirdlinger (Mischa Barton) walks into Walter Huff’s (Ciaran Owens) life with an interesting proposal, his life is never the same. Suddenly Walter is pulled into a tense world of manipulation and betrayal which leaves Walter questioning everything he knows, he truly is under the spell of Phyllis, the original Femme Fatale.
As an insurance salesman, Walter Huff needs to have a keen eye for detail, and prides himself on being able to spot a scam. Then Phyllis Nirdlinger enters his life wanting to discuss her husband’s life insurance policy – now everyone knows this conversation can never go well. Walter is now sucked into Phyllis’s web – embroiled in a world of lies, seduction and betrayal. Ciaran Owens commands the stage from the second he enters; he exudes confidence and charm throughout. I am a fan of a fourth wall break and Holloway’s use of this technique works well. It is this breaking of the fourth wall that allows the audience to see the break in Walter’s character and Owens portrays this extremely well.
Making her UK debut Mischa Barton is headlined as the femme fatale Phyllis Nirdlinger, she bravely takes on the role of a villain and plays heavily on the film noir stereotype. Barton attempts to build tension throughout, her body language is dramatic, she stares longingly into the audience slowing her speech so every word is heard. Dressed in a burnt orange dress, adding a splash of colour but fully embracing the film noir aesthetics in her mannerisms. Barton’s and Owens’ work well together but I did want them to have a little more chemistry, however as a duo they successfully build the tension in the first act. Despite Barton being the headliner, the star role has to go to Martin Marquez. Marquez pairs well with Owens as his boss Keys, where in a story centred on murder, these two present a vulnerable element which is wonderfully endearing. As always there are a number of multiple role parts which demonstrate the talent of an ensemble, Oliver Ryan, Joseph Langdon, Gillian Saker and Sophia Roberts all deliver each of their role with ease and an abundance of presence. Each character adds an extra element to the play which all allow the plot to flow in the classic film noir style.
Ti Green’s set captures the nuances of Film noir, the backdrop of a reverse Hollywood sign acts as a constant reminder that they are more on the depressive side of the 1930 rather than the American Dream optimism. In addition, the bare construction of the sets provide the perfect antithesis to Hollywood’s stereotypical glamour. Greens set is utilised well, for a static set the multiple uses Green incorporates is quite impressive. Joshua Gadsby’s lighting and Dan Balfour sound design, pairs well with Greens set and this trio’s attempt to create the film noir spectacle is commendable. The constant use of the smoke effect, was a little overdone and at times it did appear a bit heavy on the stage when the characters were not moving. Green’s choice of costumes cleverly evoke the 1930’s style, providing each character with a sleek and classic silhouette which fills the production with a glamorous feel. Phyllis’ costumes are elegant and stylish and despite not obvious in colours, the polished outlines add to her seductive temptress character. Owens’ suits are symbolic of 1930 style, creating a more formal business-like aesthetic to Walter’s wardrobe. Green’s interesting use of tailoring and intentional character driven styles reinforces the noir aesthetic.
Presenting film noir on stage is a difficult task but Holloway’s production is well executed. Aesthetically the creative team adaptation of Cains tale does work well, where possible every nuance of Film Noir has been captured. The polished and elegant costumes contrast with the industrial/ construction style set resulting in them being symbols of the moral decay of the characters. The forefront of this story is murder and is obviously a prominent theme of the play, however through Owens and Barton’s characterisation this play becomes more than this. Holloway contrasts comedy and tenderness with murder and seduction and in doing so begs the audience to question their moral compass. Made even more emphatic by having Owens continually break the fourth wall, Holloway literally involves the audience in the characters thoughts and feelings which gives this play a human quality that in my opinion makes it an interesting watch.
Double Indemnity is on at Manchester’s Opera House until Saturday 2nd May tickets are available here.
Opening Night 