Double Indemnity

Despite the disclosure on all advertising that this is NOT based on Billy Wilder’s 1944 film noir, the audience (and, seemingly, some of the critics) are clearly being influenced by the film. Don’t be. This is not a send-up or an homage, it’s a play, adapted from a book, and it deserves to be seen as such.

The plot is still basic – a jaded insurance salesman falls for a femme fatale and together they plot to kill her husband by an “accident” which pays double reward, but who is playing whom?

It’s difficult to divorce yourself from what is a classic film and judge work on its own merits, but to do otherwise is a waste of time and ticket money and a dis-service to Holloway and his work, which is, for the most part, engaging and witty.

I tried very hard to block the realisation that while Barbara Stanwyck’s femme fatale Phyllis was sultry, sexy, sophisticated and seductive, Claire van der Boom  though a good actress) has NONE of those qualities and you need to suspend disbelief to accept that anyone would be obsessed by her. Leon Ford is, as always, excellent as Walter Huff – cynical and world-weary, yet with a veneer of charm, he connects with the audience by breaking the 4^th wall and talking directly to them. While it’s hard to believe that he would be held in thrall by Phyllis, it’s easy to see why she would consider him an appealing roll in the gutter. Ford never does bad work, though this may not be his best, but ultimately these are two morally bankrupt people and liking them at all is an achievement.

The acting honours go to Peter Kowitz, as Huff’s boss Keyes, who owns every scene and (rightly) garnered spontaneous applause at the end of one. He proves yet again that he is one of our finest and most under-rated character actors and he comes closest to understanding the elements of “Noir” as an art form. Richard Piper is a powerful presence as the bullying husband, and as “Jackson”, (the same actor “witnessing” his ‘own’ demise is a nice touch).  Edwina Samuels excels in all three of her roles, but especially as Nettie, and Jessica Tovey is a delight and brings real depth to Lola, the victim’s naïve daughter. Lachlan Woods is a great asset in three entirely different roles.

Andrew Bailey’s set design ranges from superb in the curved Deco mansion, to an absolute disaster in the dreadful car scene. Esther Marie Hayes costumes are quite gorgeous and Paul Jackson’s lighting design is excellent. Kelly Ryall’s underscore is suitably cinematic, but often too intrusive…turn it down a notch and let it simmer. Nevertheless, it’s an overall asset to the production.

Like much of the rest of the production, Sam Strong’s direction is hit and miss….sometimes excellent and other times cringe-worthy….the car scene, the hospital, and the klutzy end scene on the boat are prime examples. If the actors clearly don’t believe what they’re doing/saying, how can the audience be expected to?

Overall, for me, there are more ticks on the plus than minus side of the list. Far too often MTC gives us plays that have something deep to say, yet they fail to say it. Holloway’s play has nothing deep to say, but it entertains with a certain flare and panache…and that is preferable to most people.

Coral Drouyn

Photographer: Jeff Busby