Weddings are often the greatest performances we’ll ever be a part of. There are grand outfits, carefully assigned roles, a curated soundtrack, and rehearsed speeches. However, hidden beneath the champagne toasts and picture-perfect smiles, hidden agendas, fractured relationships, and truths lie in wait. But, for one day, reality is suspended in favour of two lovebirds surrounded by family and friends as they embark on their happily ever after. It’s this dance between performance and truth that makes the setting of A Mirror so unsettling. As actor Zachary Pang puts it, “It’s the perfect cover for our gathering. And who doesn’t love a wedding?”

Written by British playwright Sam Holcroft and originally staged in London to critical acclaim, the suspenseful and structurally daring play will make its Singapore debut under the direction of Pangdemonium’s artistic director and co-founder Tracie Pang as part of the company’s 2026 finale season. Set in an unnamed totalitarian state, this rendition of the play begins with what appears to be a wedding celebration. But underneath the festivities is something far more dangerous. As the story unfolds, facts become slippery, trust becomes increasingly unstable, and the audience is pulled into a world where certainty is constantly being rewritten in real time. “While you’ll be attending a wedding ceremony, you’ll also be there to watch something you aren’t supposed to see,” says Zachary, when asked to introduce the story for newcomers. In short, A Mirror doesn’t just ask the audience to follow a story. It asks them to question the very act of believing it.

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That sense of instability feels less dystopian fantasy, more an uncomfortable reflection of our present reality. “The story is about the power of words and how they can be twisted and turned,” explains actress Coco Wang Ling. “How the risk of censorship drives a group of people to fight for their voices to be heard.” 

While censorship is hardly a new subject for the stage, A Mirror approaches it from an unexpected angle. “Censorship is a theme that has been thoroughly explored,” Coco says, “but what this play does really well is its use of form. It is so cleverly written. When I first read it, it felt like reading a tennis match.”

Director Tracie Pang also echoes this sentiment, describing the production as one that constantly shifts the ground beneath you. “Just when you think you understand what’s real, it asks you to question it again,” she says. “It’s playful and unsettling at the same time, and it speaks to how easily truth can be shaped, performed, and manipulated. That tension feels incredibly relevant right now, and it’s what drew me to the work.”

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Part of the play’s intrigue lies in its structure. On the surface, it is a wedding. Beneath, it is something else entirely. “There are layers to the play that will come as a surprise,” says Zachary. “And I think the audience will really enjoy watching the truth unravel in real time.” The choice of a wedding as the play’s central setting is not accidental, as Coco notes, “In this world, the authorities have not provided a license for the play to be staged. So, they’ve resorted to using the wedding as a cover.”

It is within this carefully constructed illusion that the ensemble—featuring Zachary, Coco, and fellow thespians Ghafir Akbar and Andrew Marko—operates. Zachary’s The Groom is honest, committed to the truth, and determined to remain straightforward and real; Coco's The Bride, meanwhile, is loyal, resourceful, and reliable with an instinct for learning. Their descriptions make the pair sound almost at odds with the environment they inhabit—at least from what we know.

Talking about what drew them to their roles, the duo’s descriptions of the script and themes pique one’s interest. “When I first read the script, I couldn't put it down. I was enraptured, like I needed to know what was going to happen next," Coco shares. She even recalls being so taken by the final moments that she found herself returning to the text again just to piece everything together. As for Zachary, having watched a previous iteration, he was already drawn to its writing. “The dialogue and characters are so well observed,” he says. “But thematically, it's also something I feel is so relevant, and approached in such an exciting and inventive way. There were a lot of penny drop moments, as well as so much intrigue at the top of the play just trying to figure out what the hell is going on, and which character you can trust.” 

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As rehearsals progressed, both actors found their understanding of the play shifting. “I think [through rehearsals], I fully understand my character's motivations and capabilities,” adds Zachary. “It can be interpreted in a few ways, but I think what we've found in rehearsals makes the most sense and is a wonderful challenge to play.” For Coco, the discoveries were more physical: “I've really enjoyed discovering my character's physicality. Her little quirks and habits help me get into character.”

With the show’s premiere right around the corner, A Mirror feels so timely outside of the theatre. “I think it’s easy to see the parallels in the world we’re currently in. Deepfakes, political influence in our media, and public figures who openly lie,” Zachary says. “Just as in real life, when you’re watching this play, you’ll need to stay sharp.”

Coco echoes the sentiment more broadly: “With social media filled with unreliable sources and the rapid acceleration of AI, we need to engage our critical thinking before believing anything we see online–exercise skepticism.”

Ultimately, A Mirror is not simply a story about a wedding nor state-built control. Rather, it’s about how easily perception can be shaped and destabilised. With misinformation, manipulated narratives, and AI-generated content all around, Coco wants audiences to contemplate what they’ve witnessed long after the curtains have closed. “It is easy to believe the rehearsed speeches with hopeful aspirations and big promises, but remember that it is actions that speak louder than words.”

*This interview has been edited and condensed for clarity

Pangdemonium’s A Mirror will be on from 26 June to 12 July 2026 at Singtel Waterfront Theatre, 8 Raffles Avenue, Singapore 039802. For more information, visit their website.