Turning a classic film noir into a stage play is an ambitious undertaking. Billy Wilder’s 1944 film adaptation of James M. Cain’s novel is widely considered one of the greatest crime films ever made, with Barbara Stanwyck and Fred MacMurray delivering iconic performances in a story steeped in shadow, seduction and moral decay. Bringing that kind of cinematic tension to the theatre is no small task, and this touring production of Double Indemnity arrives at Theatre Royal Brighton with a strong cast, striking design and plenty of atmosphere.
Set in 1930s Los Angeles during the depths of the Great Depression, the story follows insurance salesman Walter Huff, a man whose professional life revolves around spotting fraud. When he encounters the alluring and enigmatic Phyllis Nirdlinger, however, his instincts falter. What begins as a routine discussion about life insurance quickly spirals into a dangerous conspiracy. Together they plot the ‘perfect crime’: murder Phyllis’s husband, claim the insurance money, and disappear into the Californian sunset. Of course, in classic noir fashion, things rarely go according to plan.
Much of the production’s success lies in its visual world. Ti Green’s set and costume design is striking, a really impressive and carefully created stage, conjuring the smoky glamour of mid-century Hollywood with impressive economy. The design feels cinematic from the outset: a pared-back but versatile display framed by the looming suggestion of the famous Hollywood sign hovering in the background like a silent witness. The set shifts fluidly between locations while maintaining the tension and menace that define the genre. Lighting and staging lean heavily into noir aesthetics, with stark shadows and dramatic contrasts creating a sense that danger is always lurking just out of sight.
If the production sometimes feels more like watching a film unfold on stage than a traditional piece of theatre, that is likely by design. Director Oscar Toeman embraces the story’s cinematic roots, and the result is often visually compelling. For audiences who relish the mood and atmosphere of classic film noir, there is plenty here to admire.
Mischa Barton makes her striking UK stage debut as Phyllis Nirdlinger, the archetypal femme fatale whose seductive charm masks a calculating ruthlessness. It is a role famously associated with Barbara Stanwyck’s legendary screen performance, and stepping into it carries a certain weight of expectation. Barton plays Phyllis with cool poise, leaning into the character’s enigmatic allure while allowing flashes of manipulation and vulnerability to surface. She maintains the pithy drawl of the film’s original whilst bringing her own energy to the role.
Opposite her, Ciarán Owens delivers a strong performance as Walter Huff. The role demands stamina as much as skill; the script is heavily narrative-driven and packed with rapid-fire dialogue that requires precision and confidence. Owens handles this with assurance, giving Huff an engaging blend of swagger and unease as the character slides deeper into moral compromise. His scenes carry much of the evening’s dramatic momentum.
Indeed, the cast as a whole work hard to sustain the production’s pace and tone. Martin Marquez provides welcome gravitas as the sharp-witted insurance investigator Keyes, while Sophia Roberts brings warmth and sincerity to the role of Lola Nirdlinger. Oliver Ryan and Gillian Saker take on multiple parts, contributing to the sense of a tightly knit ensemble where each performer must show stage presence.
There are also moments of unexpected humour threaded through the dialogue, offering brief relief from the mounting tension. These lighter beats land well with the audience and highlight the actors’ versatility. Ciarán Owens as Huff especially excels in keeping some of the darker events of the play light.
Where the production occasionally struggles is in the adaptation itself. Tom Holloway’s script is dense with dialogue and narration, sometimes leaning heavily on exposition to move the story forward. The result is a piece that can feel somewhat wordy, placing considerable pressure on the performers to maintain momentum. While the language is sharp and often witty, the narrative structure can occasionally slow the pace, reminding the audience that this is a story originally conceived for the page and immortalised on screen.
Yet the production also highlights the difficulty of translating a tightly wound film noir into live theatre. Billy Wilder’s 1944 film works so brilliantly because of its cinematic language – the claustrophobic camera angles, the slow burn of suspicion, the sense that every glance carries meaning. On stage, some of that psychological tension inevitably dissipates. Tom Holloway’s adaptation leans heavily on dialogue and narration to propel the story forward, which means the actors must carry a great deal of explanatory text.
Mischa Barton’s Phyllis Nirdlinger is played with a cool, controlled glamour that suits the noir aesthetic, but the stage version of the character feels somewhat less dangerous than her film counterpart. Barton captures the poise and icy self-possession of the classic femme fatale, though the script rarely allows her the kind of electric unpredictability that made the character so unforgettable on screen. As a result, the production is often most compelling visually rather than dramatically, with the design and atmosphere doing much of the storytelling work.
In truth, Double Indemnity is such a quintessentially cinematic work that translating its suspense to the stage is always going to be a challenge. Some scenes that might feel electric in a film setting inevitably lose a little of their punch when recreated theatrically. Still, there is undeniable pleasure in seeing this iconic story brought to life with such visual flair. Ti Green’s design, combined with a committed cast and an unmistakable noir atmosphere, gives the production a stylish edge. While the stage adaptation may not quite match the razor-sharp suspense of the original film, it offers an intriguing theatrical interpretation of a classic crime tale and an opportunity to see Barton make her UK stage debut alongside a strong ensemble.
There is much to appreciate here. The production captures the atmosphere of classic noir with style and ambition, supported by strong performances, versatile actors, and an evocative visual design. For fans of the genre—or anyone curious to see a beloved crime story reimagined for the stage—this adaptation offers an intriguing and often visually striking evening of theatre.
Further information: doubleindemnityplay.com
Performance details:
Dates: Tue 10 – Sat 14 Mar 2026. Evening performances Tue – Sat at 19:30; matinees Wed, Thu, Sat at 14:30
Venue: Theatre Royal Brighton, New Road, BN1 1SD
Tickets: From £15
Running Time: 2 hours 15 minutes (including interval)
Age guidance: 12+
Accessibility: https://seatplan.com/brighton/theatre-royal-venue/access/
Find more arts and culture reviews at Brighton & Hove News – Follow @BHCitywhatson and @bhcitynews on Instagram.
Covering everything from fringe theatre to major tours across Brighton & Hove – tag us if you’re going!
