DOUBLE INDEMNITY

Photo: Manuel Harlan 

The promise of seeing a favourite film staged is triple edged sword, if such a thing could exist? Will it match my cinematic experience, will it perhaps exceed it or will it fail? First impression is made on this occasion by an impressive set, a dark tunnel of a space with heightened perspective and dramatic shuttering, above hangs the reverse of the last few letters of the HOLLYWOODLAND sign to set a time and a place. There is a sense of gloom and threat from which the central character of  Walter Huff emerges, striding to the front of the stage to confront we the audience about our expectations of what might come to pass. It’s a strong opening gambit, establishing his role as narrator of his own story. Ciarán Owens sets the tone beautifully and his performance holds true throughout. This is a story of murder and he leaves us in no doubt that he is complicit in the plot and in the telling of it.

Photo: Manuel Harlan

Enter ice cold Phyllis Nerdinger delivered by Mischa Barton, looking every inch the femme fatale, not just cool but icy cold, so cold in fact that Huff’s immediate attraction seems somewhat implausible. Where is that fatal attraction that leads them both down such a dark path?

The rest of the evening is further confused by almost every other member of the cast taking on multiple roles, but not very effectively. Joseph Langdon on first appearing is the almost mute Nino, a role he plays so very convincingly, but to have him return moments later as a night watchman, looking so very similar apart from a costume change, acostume also ambiguously rather like a policeman in the gloom, and wielding a torch which at first could be a gun… well here the confusion begins. His later appearance as the entitled head of the insurance firm gives him more to play with and were he not so obviously Nino and the watchman it would serve the whole so much better.

Sophia Roberts’ first appearance, rather unconvincingly winding wool, (or is she symbolically meant to be untangling yarn?), is not established well enough, I was not alone in thinking that she was the maid and not Phyllis’s step daughter, and her somewhat dowdy costume did not help to establish that she was the daughter in a wealthy household. Fortunately for both actor and audience she has far better scenes to come and delivers them with style and conviction.

Photo: Manuel Harlan

Oliver Ryan suffers the same fate as the others, convincingly the bluff and bullying Mr Nerdinger, reappearing as witness to his own demise is so clumsy that it totally ruins the story and so detracts from what otherwise is a fine performance.

Gillian Saker is far more convincing in her multiple roles but oh for a few minor additions to her costume to make her more convincingly a waitress and an usherette (I use the word in period not falling for the modern genderless form). But despite this, she is very good and especially as the much put upon secretary Nettie.

To my amazement at times there were obviously more people on the stage than those already mentioned, so why were they not charged with performing those extra roles and removing the confusion, was it budgetary?

Ti Green’s set is stunningly impactful and Joshua Gadsby’s lighting is superb, the film noir atmosphere so expertly accomplished by the paring of their talents, and the atmospheric soundscape and music Dan Balfour works well if at times it is a little too loud.

Photo: Manuel Harlan

Finally though a word for the outstanding performance of the whole evening. Martin Marquez is perfect in every sense as Keyes, the gruff elder statesman of the story, a convincing and consistent presence throughout and without having to take on minor roles in the story all the better for that.

The current trend for stage versions of classic movies is not best served here, there are too many holes in the plot, not enough use of the three on stage understudies in those minor roles to alleviate character confusion and that impressive but cavernous set is not utilised to its full potential. Something of a curate’s egg of an evening sadly.

Andrew Kay

10 March

Theatre Royal Brighton

Rating: