Based on James M. Cain’s 1943 novel, the noir thriller, Double Indemnity arrives in Manchester promising to bring to life the gripping source material, deemed one of the greatest crime novels of the 20th century. While there are moments of enthral in Tom Holloway’s adaptation, there’s ultimately a lack of general cohesion which makes one question, should I be gripped or is this satire?

Without boring the reader, double indemnity is a clause in an insurance contract that doubles the payout for a beneficiary should the insured die in specific accidental circumstances. Cue Walter Huff (Ciarán Owens), an insurance salesman who is “seduced” by “femme fatale” Phyllis Nirdlinger (Mischa Barton) to conspire to murder her husband (Oliver Ryan), to collect a hefty insurance payout. I use scare quotes as irony as there isn’t even a look of temptation before they white-knuckle it, guns blazing (pun absolutely intended) into an unconvincing affair.

While the film noir genre is synonymous for overly stylised or rigid acting choices, under Oscar Toeman’s direction, the cast bring a mixed bag of range leading to a disoriented production. Owens is charismatic but, alongside Barton’s stifled performance which lacks layers leaves minimal chemistry on stage in their shared scenes. While this may have worked in a bygone era on screen, the modern theatre demands more. Ryan, however, gives distinct characterisation to his roles and builds tension as Mr Nirdlinger and Martin Marquez as Keyes anchors the piece with full-bodied determination.

Moments of the production feel dramatic where others feel satirical and had this been leaned into more, especially during the repetitive first act, the material could do the heavy lifting rather than relying on other creative elements to keep the audience engaged. Ti Green’s forced perspective in her set design utilises the space well and along with Joshua Gadby’s lighting design allow the audience to focus their attention back on stage, especially during transitions which, due to set elements, can fight against the sleekness that the overall design provides.

The sound design and composition retain this confusion with the peculiar blend of a simmering underscore which builds to a crescendo that wouldn’t be amiss in a cult 80s crime thriller. When it works, it works. But when it throws itself out there, it’s jarring.

So, should you buy a ticket? If you stay until Act 2, it predominantly makes up for the lagging first act and does leave a satisfactory ending. However, overall, the evening lacks the thrill one needs from a thriller.

Double Indemnity plays at Manchester’s Opera House until Saturday 2nd May. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Manuel Harlan.