Double Indemnity, UK Tour (2026) Review
Written by Cathie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Film noir, as a genre, asks the age old question of how to get away with murder? Double Indemnity answers this question and takes the crime one step further by exploring how to keep all the ill-gotten insurance money as well. James M. Cain’s sinister 1943 novella and Billy Wilder’s 1944 film noir became the pioneer and standard for Hollywood’s Noir films. Now, one of the most famous films of all time has been adapted for the stage by Tom Holloway.
Ti Green’s set works wonderfully to set the tension for Double Indemnity. The back of the Hollywood sign looms large over the actors on stage, acting as a sinister watchman as well as the final staging for the dramatic showdown. The industrial bare walls in the foreground of the set keep the focus on the actors’ excellent chemistry and are a poignant reminder that this is a show about murder. Joshua Gadsby’s lighting design and Dan Balfour’s sound design keep the suspense tightly wound throughout. This all works well together to create a tense atmosphere and keeps the action on stage feeling powerful and captivating.
The show’s plot is quite well known and creates most of the beloved stereotypes of a noir film. There’s the scheming step wife, the jealous, driven lover, the hard-nosed husband and the other innocents caught up in between. There are many satisfying red herrings and plot twists scattered throughout at key points. Holloway’s script has the difficult task in adapting such a giant of literature, but does it with flair, keeping all the key elements shining bright throughout, as well as adding a stunning twist finale that had many of the audience gasping in surprise. The show also manages to keep much of the dark humour of the original movie and book, which has the audience laughing as much as gasping at the story unfurling on stage.
The pacing works well to keep the story intense and fast moving throughout. The first act is one hour and six minutes, culminating in the murder of Mr. Nerdlinger. The second act is shorter at forty minutes but maintains the same frantic energy as post murder the characters all spiral out of control to a final satisfying conclusion.
The cast works hard to create a tense atmosphere throughout and has credible chemistry together. Mischa Barton excels in her stage debut as Phyllis, creating an irresistible villain who is controlled, enigmatic, and determined to get her payday no matter the cost. She is the centre of the story, and her use of pauses and minute shifts in body language is excellent at enveloping the audience in the same fascination the characters feel. Ciaran Owens is a brilliantly charismatic Walter Huff, bringing frenetic energy and the majority of the comedy to this show in his breaks of the fourth wall. His use of body language and tone is excellent in portraying a man unravelling into murder and insanity and he and Barton have crackling chemistry together. Owens also has excellent chemistry with Martin Marquez as his boss Keyes. They bounce off each other to create a nuanced portrayal of tenderness, camaraderie, and male friendship. Oliver Ryan and Joseph Langdon are excellent in showcasing multiple roles and creating much of the humour and tension throughout. Gillian Saker has a powerful stage presence, and Sophia Roberts’ Lola has a credible sweetness that makes these secondary characters shine in each moment on stage.
Overall, this is a fantastic homage to the original noir story while adding fresh twists to keep the story dynamic and captivating. It is a hugely fun night out, and many of the audience loved guessing the next steps in the interval. If you enjoy classic noir, fabulous casts, and a great night out, then this is the show for you.
Running until 7th March 2026 at Richmond Theatre as part of a UK tour.
★★★★
