Double Indemnity – Playhouse Theatre, Liverpool

Writer: James M Cain

Adaptor: Tom Holloway

Director: Oscar Toeman

In the opening moments, the central protagonist speaks directly to the audience, laying out the story’s key themes of murder and greed. Much like Walter Huff, this reviewer has a confession to make: when they learned that Double Indemnity was being adapted for the stage, featuring star of the silver screen, Mischa Barton, their interest was immediately piqued. The 1944 film directed by Billy Wilder holds a special place for them, as it was the first film they studied academically and the first they wrote about critically. While the stage version may not quite reach the same heights as the original, it nevertheless proves far from disappointing.

The stage adaptation aligns more closely with the 1936 novel by James M. Cain than with the film. Set in a 1930’s California affected by the Great Depression and still reeling from the aftermath of the Wall Street Crash of 1929. Despite the economic hardship, insurance salesman Walter Huff (Ciaran Owens) is thriving, largely due to his skill and sharp instincts. Alongside chief claims investigator Keys (Martin Marquez), he helps keep the company afloat, with Huff selling policies and Keys finding reasons not to pay out.

A routine house call to an existing client, Mr Nirdlinger (Oliver Ryan), who happens to be out, leads Huff to meet his wife, Phyllis, (Mischa Barton). There is an immediate spark between them, and their flirtation quickly intensifies as casual conversation about insurance policies takes a darker turn. Before long, the pair begin plotting murder. Together, Huff and Mrs Nirdlinger devise a scheme in which her husband will suffer a fatal accident on a train, triggering a double indemnity payout. As an insurance expert, Huff is uniquely equipped to plan the perfect crime, fully aware of every trick companies use to avoid paying claims.

Huff claims that the perfect murder requires only three things: time, place, and the audacity to carry it through. With all these elements in place, it seems nothing could go wrong. However, complications soon arise. Mr Nirdlinger’s daughter, Lola (Sophia Roberts), becomes an unexpected obstacle, while Huff’s colleague Keys begins to suspect foul play. As suspicion grows, the idea of Walter and Phyllis escaping together begins to feel increasingly unlikely.

 It is a brave move to take on such a well-loved classic and bring it to the stage. Playwright Tom Holloway and director Oscar Toeman deliver an adaptation that is consistently entertaining, even if it feels slightly uneven at times.

Ciaran Owens presents a charismatic and engaging leading man, whose charm and direct address to the audience draw them in as willing accomplices, making him an easy figure to root for. With top billing, Mischa Barton brings a sense of glamour and intensity to the role of Mrs Nirdlinger. This is no damsel in distress; her presence looms over proceedings throughout.

However, what feels lacking between the pair is a convincing sense of lust and desire. It is difficult to fully believe that their actions are driven by passion or a genuine longing to be together, which is central to the story. There is clearly some chemistry between them, but it never quite develops enough to feel compelling. Instead, Neff’s motivation appears rooted more in outsmarting his employers and proving his own cleverness, while Mrs Nirdlinger seems driven by a desire to assert herself over the men in her life who have diminished or mistreated her.

The supporting cast are in strong form throughout. Martin Marquez delivers a commanding and at times humorous performance as the tenacious Keys, and it is the relationship between Keys and Huff that feels most vital to the production, a credit to both Marquez and Owens. Oliver Ryan is equally effective, bringing a subtle sense of menace to the otherwise unsuspecting Mr Nirdlinger. Meanwhile, Sophia Roberts adds a welcome sense of warmth and humanity to the proceedings with her portrayal of the kind-hearted Lola.

The sense of claustrophobia and intensity is heightened by the minimal stage design from Ti Green. Resembling a subway tunnel or a darkened container, the set emphasises the shadowy spaces where plots are conceived and schemes set in motion. It works in perfect union with Josh Gadsby’s atmospheric lighting, which casts enlarged, distorted shadows of the characters onto the surrounding walls. There is even a subtle nod to the classic venetian blind effect so closely associated with the noir genre, reinforcing the production’s dark and stylised tone.

While not without its imperfections, this remains a faithful and engaging production that offers enough suspense, intrigue, and moments of humour to keep the audience entertained. It stands out as one of the stronger recent adaptations from film to theatre, and a welcome addition to the genre.

Runs until 18th April 2026