Double Indemnity – Wycombe Swan Theatre, High Wycombe

Writer: James M Cain

Adaptor: Tom Holloway

Director: Oscar Toeman

Double Indemnity, the 1944 film directed by Billy Wilder was adapted from James M Cain’s book with the help of Raymond Chandler, the creator of detective Philip Marlowe, and has been acclaimed as one of the best film Noir thrillers of all time, so it was inevitable that it would find its way to the stage in this era of stage adaptations to attract audiences. Although the character Marlowe is a familiar one, he is not featured in this story, and we were not aware of the original film so came to the story and styling without preconceived ideas.

The stage adaptation places the emphasis on Noir with a bleak dark set designed by Ti Green that looks like a concrete bunker in the hill behind the Hollywood sign (erected in 1923) and long shadows cast across the stage by lighting, designed by Josh Gadsby, shining through slatted walls. It creates a distinctive mysterious atmosphere, and the action has the feel of nightmarish half remembered recollections with limited location settings and props. Important action on a train or in car is presented in a stylised metallic frame leaving much to our imagination. Phone calls play an important part in the story but curiously Director Oscar Toeman plays these with the characters standing near each other without phones in hand, it may add to the pace of the show but asks too much of the audience.

The tale is narrated by the central protagonist, the insurance salesman, Walter Huff, played with a charismatic charm by Ciaran Owens often talking directly to the audience. We soon learn that his is more than just a salesman of car and public liability insurance but something of a con man and explains that for a perfect murder you need three things: help, the time and the place and audacity. The plot is simple con a man to sign a Double Indemnity Life insurance policy ( twice the payout if he dies from a train) and then enlist his wife’s help to murder him. What could possibly go wrong?

Central to the story is the relationship between the victim’s wife Mrs Phyliss Nordlinger, played with elegant ease by Mischa Barton,  and Huff. It should sizzle with sexual tension and danger but despite their best efforts the chemistry between them does not quite come to the boil. She puts him in his place for his misogynistic put downs and assumptions; he sweats in desperation as the plot evolves but we never quite believe it is real.

The story bursts into intrigue and interest in the second act as the brilliant Martin Marquez as Huff’s colleague Keyes smells a rat, a death from a train at 15 mph three months after a double indemnity policy is taken out. The scenes between him, their boss Mr Norton (Joseph Langdon) and Huff are excellent, as the pick over facts trying to see if they can avoid an insurance payout that would bankrupt the company. Nettie, the secretary, Gillian Saker, hovers in the background seeing more than they realise. The twists and turns in the second act add the drama and keep us guessing as to who is working with who and makes this an enjoyable production.

Like the Huff’s murder plot it is not a perfect production but there is enough intrigue and deception and a lovely performance from Martin Marquez to carry the show and provide an entertaining mystery that captures the essence of the Film Noir genre.

Runs until 11 April and then tour continues until 9^th May