REVIEW: Agatha Christie’s The Mirror Crack’d - Centenary Theatre Group

Agatha Christie’s The Mirror Crack’d

Centenary Theatre Group

Director & Set Design: Alison Lees

Tech Design: Brian Hobby

Wardrobe: Serena Altea

Photography: Julie Collins

“One never knows when one's time has really come…”

I spent my Sunday settling into the Centenary Theatre for an Agatha Christie whodunnit. The murmur of the audience carried that particular anticipation. Everyone quietly preparing to play detective and crack the case. And The Mirror Crack’d delivers exactly that pleasure, wrapped in glamour, secrets, and the dangerous fragility of reputation. The tea is poured, the accents are (mostly) sharp, and you can bet your magnifying glass someone’s certainly about to die.

First published in 1962 and set in that same year, this tale remains one of Christie’s more reflective mysteries. It has been adapted several times, most notably in the 1980 film, and draws loose inspiration from the tragic real-life story of Gene Tierney. At its heart sits one of Christie’s most beloved sleuths, Miss Marple, who is quietly wrestling with ageing, independence, and relevance.

Set in the quintessential English village of St Mary Mead, a charity fête hosted by glamorous film star Marina Gregg takes a deadly turn. Polite small talk and star-struck excitement fracture into suspicion and buried trauma. he audience gets to play detective, watching the same scene unfold from different viewpoints in a series of flashbacks. It is a structure that rewards attentiveness, as clues hide in mismatched details and subtle emotional shifts. Meanwhile, with a sprained ankle confining her to an armchair, Miss Marple must rely on recollections and contradictions to piece the puzzle together, assisted by Chief Inspector Craddock.

The inclusion of a video screen displaying black and white newsreel footage immediately grounds us in the early 1960s. It is an effective visual touch that adds context without overwhelming the action. CTG are usually meticulous with their visual worlds, and while this set establishes location, I found myself craving more period detail in the interiors. More refinement and perhaps a stronger sense of faded glamour beyond the mirror vanity to match Marina’s world. The wardrobe does not always lean into the 1962 setting either. For a Christie, visual detail helps anchor the stakes, and a few additional flourishes would deepen the immersion.

Desley Nicholas as Miss Jane Marple captures her propriety and curiosity beautifully. There is a quiet steeliness beneath her gentle manner, particularly evident as she politely but persistently pries into everyone’s affairs. She balances fragility and intellect with care, and when she eventually pieces together the truth, you know she's earned it. Miss Marple must appear harmless while secretly acting as the Sherlock solely through observation, and in this role, Desley becomes the backbone that supports the entire show.

Selina Kadell as Marina Gregg brings glamour and volatility in equal measure. Draped in a striking red gown, she embodies the enigmatic film star concealing uncomfortable truths. Marina must be dazzling yet deeply vulnerable, and Selina leans into that duality well, particularly in her more emotional moments. She should definitely amplify the diva drama even further, similar to the scene when she is portraying Catherine of Aragon.

Erik de Wit as Chief Inspector Dermot Craddock is properly British and satisfyingly stuffy, grounding the production with official authority and a hint of impatience. He works well as the pragmatic counterbalance to Marple’s intuitive methods. Traci Sumpter as Dolly Bantry was a scene stealer for me. Rosy-cheeked and socially unstoppable, she is the neighbourhood busybody we recognise instantly. Her side eyes and sassy commentary hit the comedic jackpot every time.

Dana Stolp as Cherry Baker brings youthful nervousness and sweetness, while Natalie Pedler as Heather Leigh injects excitable energy into all her scenes. I genuinely wish we saw more of her! Peter Van Werkhoven as Jason Rudd captures the slightly haughty, self important demeanour of a film director convincingly.

Rounding out the company is Emily Pell as Lola Brewster, the bright young ingénue, Keith Scrivens as Cyril Leigh, ever the overlooked Mr Cellophane, Samantha Broome as Ella Zielinsky, the devoted and watchful assistant, and Trevor Bond as Giuseppe Renzo, the loyal butler firmly trapped within Marina’s gravitational pull. Each contribute to the layered web of gossip, suspicion, and shifting alliances.

This cast handles a substantial script with admirable stamina. Christie is famously dialogue heavy, and there are tonnes of lines to navigate. As the run continues, tightening a few exchanges and sharpening line cues will only strengthen the rhythm and vocal clarity that a mystery like this relies upon. Alison Lees honours the traditional Christie structure, allowing the mystery to unfold methodically. The split scene flashbacks and carefully staged tableaux support the storytelling well, and blocking is used to emphasise overheard conversations and isolation.

For me, the pacing sits slightly on the leisurely side. Tightening transitions or quickening certain exchanges would heighten tension and keep the investigative momentum humming. Christie adaptations live or die on pace. Too slow and the suspense softens. Too rushed and the audience loses the clues. With a little sharpening, the tension could build even more satisfyingly toward the final unmasking. Christie often treats murder with a curious lightness, and this production embraces that tonal balance between dark intrigue and Brit comedy.

The Mirror Crack’d is ultimately about more than a poisoned drink. It is about ageing, identity, reputation, and the cost of fame. Marina Gregg and Miss Marple stand as two brilliant women confronting time and navigating loss in very different ways. One is desperate to preserve her image. The other quietly proves she is still formidable.

Centenary Theatre Group delivers a respectful and carefully constructed whodunnit, layered with gossip, glamour, and just enough red herrings to keep you guessing. It is the kind of show that invites you to lean forward and pay attention. Because in Christie, the smallest detail matters. And just when you think you have solved it, the mirror cracks again.