Nottingham Theatre Royal – until Saturday 14 February 2026
Reviewed by Amy V Gathercole
3***
“The atmosphere created by the set and lighting design is unmistakably noir, welcoming the audience into a shadow‑drenched world flickering into view…”
The main draw of this production is the UK theatre debut of British‑American Mischa Barton (best known for playing Marissa in the 00s teen drama The OC) as the famous femme fatale Phyllis Nirdlinger — a character defined by calculation, charm and hidden agendas.
James M. Cain’s Double Indemnity has travelled a long way from its 1930s origins, becoming a cornerstone of the film‑noir genre before finding new life on stage. This latest production, directed by Oscar Toeman, embraces that heritage with confidence. From the moment the lights rise, the atmosphere is unmistakably noir, complete with the shutter‑blind aesthetic that defines the style. A minimalist, shadow‑drenched world of offices, alleyways and underground corners flickers into view with crisp clarity. Josh Gadsby’s lighting and Ti Green’s set design complement each other perfectly, while the haunting score threaded throughout heightens key moments. Dan Balfour’s sound design and composition give the show much of its brooding mood.
At the centre of this entangled tale is Walter Huff (Ciarán Owens), an insurance man looking for something to get his pulse racing. He comes into contact with Phyllis and together they weave a web of deceit and deadly consequences. Owens delivers a performance that feels grounded yet quietly electric. In classic noir fashion, he narrates the action, feeding the audience clues, concerns and ultimately, confessions.
He charts Huff’s slide from curiosity to complicity with natural ease, never overplaying the drama but letting it simmer beneath the surface. He’s compelling to watch, especially as the stakes tighten around him. His scenes with his boss and mentor, Keyes (Martin Marquez), are among the production’s strongest. Marquez brings passion, humour and moral weight to the role, grounding the play with warmth and conviction. Their dynamic becomes the emotional anchor of the piece and is more gripping at times than the central seduction plot, which never fully convinces.
Mischa Barton takes a more understated approach to Phyllis. It’s a gentler interpretation than audiences familiar with the source material might expect, especially for a character traditionally defined by dangerous allure. While the restraint is an interesting choice, it sometimes leaves the role feeling muted in a production that leans heavily into noir’s heightened tension. Even so, Barton finds moments of quiet intensity that hint at a more internalised, psychological Phyllis — less overtly seductive, more quietly calculating. Her presence adds intrigue, even if it doesn’t fully ignite the story.
The supporting cast, including Gillian Saker, Joseph Langdon, Oliver Ryan and Sophia Roberts, add texture without pulling focus. Their shifts between roles are clear and purposeful. As Phyllis’s younger step‑daughter, Lola, Roberts provides a sincere and vulnerable performance that softens the production’s harder edges.
Double Indemnity is stylish and steady, but ultimately fails to be truly absorbing. While the atmosphere is rich and the cast are committed, the show never quite achieves the necessary momentum, leaving this viewer admiring the craft but ultimately unmoved.
Tickets are available from TRCH ( https://trch.co.uk/whats-on/double-indemnity-qj8t) for Nottingham and from Show Tours ( https://showtours.co.uk/double-indemnity-tour-dates/) for the rest of the UK tour.