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This week, our theatre outing brought us to the Churchill Theatre in Bromley for Double Indemnity. Based on a story adapted in the 1940s, would it deliver the suspense it promises—or prove to be a policy not worth cashing in?
I’d been curious about this play for a while, especially with a recognisable Hollywood name attached. Mischa Barton makes her stage debut here, which added to the intrigue. I went in knowing very little, allowing the story to unfold as a tale of deception set against the backdrop of the The Great Depression.
Set in 1930s California, the plot follows Walter Huff, a skilled insurance salesman who becomes entangled with the enigmatic and alluring Phyllis Nirdlinger. Together, they plot the murder of her husband—but will it be the perfect crime, or will everything unravel?
One of my favourite aspects of theatre is seeing the set before the performance begins, and the design by Ti Green did not disappoint. It perfectly captured the aesthetic of a bygone era, evoking the atmosphere of classic cinema and transporting the audience back in time.
Ciarán Owens, as Walter Huff, delivered an impressive performance, remaining on stage throughout the entire play—a feat that required remarkable stamina. He was consistently engaging and compelling to watch. Meanwhile, Barton’s portrayal of Phyllis embodied everything you’d expect from a femme fatale: sophistication, mystery, and undeniable allure. It was entirely believable that Huff would fall under her spell almost immediately.
A standout supporting performance came from Martin Marquez as Keys. His powerful monologue in Act Two was delivered with such intensity that it drew spontaneous applause from the Bromley audience.
Turning to the story itself, originally written by James M. Cain and adapted for the stage by Tom Holloway, it’s clear that translating a 1940s novel—set in the 1930s—into a 2026 production while preserving its classic tone presents challenges. For me, Act One felt somewhat confusing at times. Several actors took on multiple roles, but character transitions weren’t always clearly signposted; in one instance, a simple costume change didn’t sufficiently indicate a switch. There was also a scene that seemed designed as a cinematic montage, which didn’t translate particularly well on stage.
Another issue was the character of Lola, Mr Nirdlinger’s daughter. Although well performed, her purpose wasn’t entirely clear in Act One, and she only truly came into her own in Act Two, following a pivotal event.
Act Two, however, felt far more cohesive. Its structure was stronger, the performances intensified, and the previously mentioned monologue stood out as a highlight. That said, even without playing detective, the ending felt somewhat predictable.
Overall, Double Indemnity comes across as a story that tries to cover too much ground too quickly. While the acting was strong throughout, I left with more questions than answers.
Double Indemnity is currently playing at the Churchill Theatre until Saturday 25th April, before moving on to the Opera House Manchester.
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