MAGNA — If Clue and Agatha Christie had a delightfully bumbling child, it would be Murdered to Death. The murder-mystery comedy currently playing at Empress Theatre brings all the charm of an old-fashioned whodunit with a generous helping of slapstick, silliness, and lovable characters. Under the direction of Stephanie Johnson, the show embraces its chaos and delivers an evening full of laughter and heart. The cast works together seamlessly to create a world that feels both familiar and fresh. With clever staging, period-perfect costumes, and a set that invites the audience.
Set in the stately Bagshot House, the story begins with an evening gathering that quickly unravels when one of the guests turns up dead. Enter Inspector Pratt, a well-meaning but hopelessly incompetent detective, who is determined to solve the case—even if he’s the only one who doesn’t realize how far over his head he is. As secrets are revealed and alibis crumble, it soon becomes clear that the killer isn’t finished yet. What follows is a hilarious tangle of confusion, mistaken identities, and delightful absurdity as everyone tries to uncover—or cover up—the truth before another body hits the floor.
From the moment the lights came up on Hutch Jorgensen’s cozy English country house set the tone was clear: this was an evening of mischief and mayhem. The set itself deserves its own round of applause. Jorgensen and his family created a believable 1930s manor, complete with period furniture evoked the aesthetic of a Christie film adaptation. The clever layout, with doors directly across from one another, was a brilliant choice for a production that relies heavily on quick entrances, exits, and misunderstandings. The static nature of the setting could have risked monotony, but thanks to thoughtful direction and animated performances, it never once felt stagnant. Instead, it became a character all its own—a space where secrets lurked behind every door and comedy unfolded in every corner.
Director Stephanie Johnson deserves a special mention for her sharp pacing and well-balanced ensemble work. Murder mysteries—especially comedic ones—can easily veer into confusion, but Johnson managed to keep the story clear while letting the actors lean into the absurdity. The casting was spot-on, with each performer fitting their role beautifully. Every character had their moment to shine, from the eccentric guests to the delightfully inept investigators, and the chemistry between the cast members kept the energy up from beginning to end.
Diana Sorensen gave a standout performance as Mildred. Her timing and facial expressions perfectly suited to the play’s dry British humor. She managed to be both understated and hilarious, drawing laughs with the smallest tilt of her head or raised eyebrow. Still, it was Chalese Craig as Joan Maple who ultimately stole the show. Her portrayal of the nosy, self-important amateur sleuth was pure comedic gold. Craig’s energy and charisma lit up every scene she was in, and her commitment to the character made even the most ridiculous moments feel perfectly natural.
Of course, no live theatre experience is without its little imperfections. There were a couple of minor line flubs throughout the evening, but the cast recovered quickly, keeping the momentum and never breaking character. In fact, those brief moments of human imperfection somehow added to the charm of the production—it reminded the audience that this was a living, breathing performance, not a polished film. The audience responded warmly each time, clearly rooting for the actors as much as they were invested in the story.
The costumes also deserve a nod. While there wasn’t a specific costume designer listed in the program, Lisa Shortridge was credited as costume manager, and if she was responsible for the look of the show, she did an exceptional job. Each outfit felt authentic to the era and suited its character perfectly. Every piece looked thoughtfully chosen for the characters and suited them well. The attention to detail helped ground the comedy in its 1930s setting and added visual appeal to the production as a whole.
Beyond the performances themselves, the overall theatre experience was delightful. The front-of-house staff were friendly, helpful, and welcoming, creating an inviting atmosphere from the moment I walked in. The seating was comfortable—with moveable armrests and plenty of personal space, which was a pleasant surprise for the venue. It’s the kind of place where you feel like you’re part of something local and special, surrounded by neighbors who genuinely love theatre.
Murdered to Death is, at its heart, a love letter to the classic murder mystery genre. It pokes fun at the tropes we all know—the clueless detective, the overdramatic suspects, the perfectly timed revelations—but it does so affectionately. While Clue might be the obvious comparison, this production feels more personal, even comfortably classic. The characters were even more likable than their cinematic counterparts, each one quirky in their own right but grounded enough to feel real.
The final twist revealed not just at the cleverness of the plot, but at the genuine joy radiating from the stage. It’s clear that everyone involved—actors, crew, and creative team alike—brought passion and enthusiasm to this production. Murdered to Death may not take itself seriously, but it takes its audience seriously enough to ensure they have a great time.
If you’re looking for an evening of laughter, charm, and a bit of mystery (with no actual murder involved), this show is absolutely worth your time. It’s the kind of community theatre that reminds you why local arts matter—because they bring people together, make us laugh, and let us see a little bit of ourselves in the delightful mess onstage.
[box] Murdered to Death runs through November 15th. Tickets are $20 and can be purchased online. The Empress Theatre is located at 9104 W 2700 S, Magna, Utah. For more information, visit https://www.empresstheatre.com. [/box]