Double Infemnity

Stylish one-woman gender-swapped feminist crime noir drama.

A dame walks into a Private Eye’s office. She’s beautiful, and she’s dangerous. She’s in trouble and she is trouble. Only this time she’s in charge.

1960s Los Angeles, a glamorous place in a seedy kind of way. Effie-Lou, a dame with a dark past, is the only one who cares that her PI friend Joe is missing. Her investigation takes her into a dark world of murder, sex trafficking, and beehives. As she investigates the mysterious disappearance only she seems to care about, Effie-Lou discovers what it means to be a woman in a man’s world.

Double Infemnity is a stylish and gender-flipped crime noir, simultaneously subverting, homaging and pastiching the genre. Funny, dramatic and chilling, the face-paced thriller twists and turns as our heroine gets drawn deeper and deeper into the sinister mystery.

This one-woman show is a feminist interpretation of a classic genre, taking inspiration from the works of Raymond Chandler and films such as Double Indemnity, the Big Sleep, and Sin City.

Double Infemnity is the first collaboration between two female theatre companies, Little but Fierce, and Paperclip Theatre.

Theatre
1hr 00m
The Vaults
31 Jan — 04 Feb
£11.50
12+
18:00
03 Feb
Book Now

Dates

Wednesday 31 January Wed 31 Jan 18:00 Included in 2 for 1 Offer Book Now
Thursday 1 February Thu 1 Feb 18:00 Extra Live PerformanceIncluded in 2 for 1 OfferRelaxed Performance Book Now
Friday 2 February Fri 2 Feb 18:00 Book Now
Saturday 3 February Sat 3 Feb 15:00 Extra Live PerformanceMatineeRelaxed Performance Book Now
Saturday 3 February Sat 3 Feb 18:00 Book Now
Sunday 4 February Sun 4 Feb 18:00 Included in 2 for 1 Offer Book Now

About the company

Little but Fierce / Naomi Westerman

Little but Fierce is a feminist theatre company creating female-led productions of both new writing and classical adaptations. They work exclusively with female directors and playwrights, and only stage plays with more than 50% female cast. Their productions have been staged at the Royal Shakespeare Theatre in Stratford-upon-Avon, at the New Wolsey Theatre in Ipswich, the Cockpit Theatre, and at the Criterion in the West End. Little but Fierce made their VAULT debut in 2017 with the sell-out play ‘Puppy’, a feminist sex comedy about dogging, queer romance and protest.

Paperclip Theatre is an all-female theatre company made up of women who have found each other through a genuine passion to create theatre telling stories which place women at the centre of their own narrative. Their debut production, Generations, was performed at the Betsey Trotwood in November 2017. This is their first full-lenth production.

Naomi Westerman is a playwright and screenwriter who creates female-centric work in a range of genres and mediums. Her work has been staged at numerous theatres in the UK and abroad, including the Royal Court (as part of Open Court), the Arcola, St James Theatre, the Birmingham Rep, Bolton Octagon, Southwark Playhouse, High Tide, and off-Broadway. She was one of Graeae’s Write to Play writers for 2017. Her first screenplay won first place in the Raindance Film Festival’s Ammo Live, and she has various screen and radio projects in development.

Catherine O’Shea is a British playwright. She began writing on the University of Leeds Theatre Studies course and went on to complete a Masters in Writing for Performance at Goldsmiths College. She has had plays performed across Britain and in New York, and is an alumna of the Traverse Theatre Edinburgh, Chichester Festival Theatre, and the Royal Court Theatre Young Writers’ Programmes. She has had 4 successful productions at the Edinburgh Fringe Festival, her 2011 play ‘Fit for Purpose’ winning the Charlie Hartill Special Reserve award.

Jennifer Cerys is a freelance journalist and Editor of the London Playwrights’ Blog. She is currently a member of SOHO Theatre’s Writers’ Lab and the all-female theatre company Paperclip. In 2017 she had four short plays staged in London: Dissent (The Courtyard Theatre), DesignHER (Bunker Theatre), #GRWM (CentrE17) and Waiting Game (Betsey Trotwood).

Adriana Sanford is a director and founder of all-female theatre company Paperclip Theatre. Her passion for theatre centres around the function of story-telling: creating and bringing to life narratives that bring to light stories that might otherwise go untold. She wrote and directed her own plays in university, and a semi-amateur production of ‘Who’s Afraid of Virginia Woolf’ in 2013. In 2017 she directed a monologue about the demise of America in the wake of Trump at the Bread and Roses Theatre, and Paperclip Theatre’s debut production Generations at the Betsey Trotwood.

Artistic Team
Written by
Naomi Westerman, Catherine O'Shea & Jennifer Cerys
Directed by
Adriana Sanford
Produced by
Tori Gretton

Press & Reviews

Critical acclaim for Naomi Westerman's Claustrophilia:

“Westerman’s writing is compelling [...] a great piece of theatre.” A Younger Theatre

“A brilliant piece.” Sonderlust Theatre

“A very strong piece from Westerman.” View from the Cheap Seats

“A compelling and well-delivered examination of trauma, privilege and resilience. Westerman’s strong script is sturdy and thought-provoking.” The Play's The Thing

“Chilling and gripping drama. Writer Naomi Westerman is an evident real talent and strong voice.” Time Out

“Anyone who has seen Westerman’s play Tortoise knows she has a knack for articulating the interior experience.” Breaking the Fourth Wall

Critical acclaim for Naomi Westerman's Puppy (name checked as Pick of the Week by Time Out and the Guardian)

“A quiet beauty, the writing and dialogue really capture the awkward sweetness of a relationship in its early stages. The script is a gem -- the makings of a brilliant piece of theatre.” Time Out Online

“Puppy is a powerful important piece. A gripping and personal script from Naomi Westerman [who] manages to present us with two very likable but humanly flawed characters [which] makes the whole piece believable and gives it a hook that sinks into your heart.” LGBTQ Arts

“A play that has the potential to be groundbreaking.” View from the Cheap Seats

“Puppy stacks feminism with porn, sex with sexuality, patriarchy with protest and crams it all into a one act, no mean feat, and yet Westerman weaves these challenging issues together thorough the journey of the two young girls, in a way that doesn’t feel forced but liberating. Brazen writing like Westerman’s should not only be encouraged but heralded as essential.” ChristinaBulford.co.uk

Critical acclaim for Naomi Westerman's Tortoise

“Quite extraordinary and we were privileged to be the first to have seen these plays. The variety and quality of the pieces performed were inspiring, reminding everyone of the talent within those four walls.” FemaleArts

“Funny and touching at the same time, [Tortoise] breaks stereotypes about mental illness, forcing you to think and ask questions. [...] Very well-received.” Zachodnikoniec

Critical acclaim for Catherine O'Shea's Transient

“A thought-provoking piece which incorporates elements of dance into its dreamlike passage and makes excellent use of the found space.” The Stage

“This is a fragmentary, fragile and promising piece of work that combines text and movement to good effect, creating an elegy for small people casually swept aside by history.” Lyn Gardner, The Guardian

“An amazing theatrical experience that is profoundly affective…” Three Weeks

“A cold shiver runs down your spine and stays there long afterwards.” The Scotsman

Critical acclaim for Catherine O'Shea's Fit for Purpose

“Fit For Purpose is truly eye-opening for all who are unfamiliar with the way asylum seekers are treated in this country. It is a strong and fluid production. Undoubtedly the most insightful part of this production is the plot. Like the pages of a book it unfolds before your eyes, as the layers of involvement personalise each of the characters.” Broadway Baby

“The most potent and moving confrontation is not physical but emotional trauma, sensitively conveyed. Fit for Purpose is to be commended for its willingness to confront us with the most unsettling aspects of how the British state polices its borders. And the narrative, despite this, is subtle: unravelling stories at a pace which creeps up on you.” Ceasefire Magazine