A one-woman show that gives a feminist interpretation of this classic genre doesn’t ooze with quite enough noir.
Double Infemnity, a nice twist on the title of the 1940s-crime noir film Double Indemnity, is a one woman play, starring Katrina Foster as Effie-Lou, a former sex worker forced to turn detective when her PI friend Joe disappears.
Ellie-Lou’s hunt for Joe draws her deep into a world of murder, sex trafficking, and dodgy beehive wigs.
Double Infemnity bills itself as a stylish and gender-flipped crime noir and is the product of collaboration between two female theatre companies, Little but Fierce, and Paperclip Theatre. It’s a one woman play that turns the smokey, masculine world of crime noir into a feminist fight for justice.
Foster doubles, when needed to, as other characters in this off-beat crime noir. And she isn’t entirely alone on stage – she’s backed up by a virtual young Brad Pitt who pops up on a screen overhead to add a visually comic dimension.
But a topless Brad and Foster’s on-point red lips and red nails aren’t quite enough to lift this show from the atmospherically dingy Vaults Studio Theatre to seedy 1960s Los Angeles, despite Foster’s obvious strengths.
The show is peppered with some clever gender stereotypes role-reversal from co-writers Naomi Westerman, Catherine O’Shea, and Jennifer Cerys. But one performer plays are hard to pull off – how do you move the show beyond a storytelling monologue to something more dimensional?
There is an attempt to do this by including a couple of audience interactions, which added a bit of zip, but overall Double Infeminity doesn’t quite pack a big a punch as the genre it’s riffing off. Foster equips herself well in the role, but is encumbered by a script that never really lifts us into this sleazy world, relying too heavily on the crime noir tropes to tell its story.
The rumbling trains above aren’t the only reason the plot gets lost, the show’s main themes – exploitation of women, what it means to be a woman in a man’s world – don’t ring as loudly as they should, lost amid a narrative that isn’t as tough as the world it’s portraying.