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Mono is gross.

I see 2 areas that appear to be damaged or are the result of some very poor repair work. The 2 red wires above the red arrow look to be torn away from the circuit board directly below, and something seems missing in the area circled in Yellow.. looks like an empty hole with poorly flowed(cold) solder around it. I think you need to get some tech help to repair or replace these, Community should be able to supply a crossover schematic at least, then just about any electronics tech would be able to repair these.

I use this - Phenyx Pro Wireless Microphone System, Dual Mic Set with Handheld/Bodypack/Lapel Mics,2x100 UHF Channels,328ft Range (PTU-71-1H1B).
$149 on Amazon
The receiver sits in the same rack as my M32C along with a cheap stereo IEM transmitter so talkback and solo are always plugged in. I just throw batteries in the mic and IEM receiver and I'm set.
It comes with a handheld, lapel and headset and you can use the handheld and 1 of the other 2 at the same time on 2 different channels. That comes in handy when I have an M-Cee bc I can give them the handheld and still have a talkback.
I have been surprised with the range - had a commedian walking around a festival once at least 250' from the stage with no dropouts.
It's no SM58 or e945 but it actually sounds decent at least for speaking.

How is the RF performance?  You obviously have the dual receiver.

I typically run shows from Mixing Station, controlling my X32 Rack on stage. I'm looking for a way to plug into the talkback XLR jack on the mixer on stage with a wireless mic that doesn't cost a fortune, since audio quality isn't really important here. Any suggestions?

A hidden and sometimes hard to find gem is the Line6 X2 system. It's 900MHz and it's digital. Audio quality is excellent and there's generally nothing in that spectrum. I've used these for my guitar rig for many many years and they work very very well. I think I've got 3-4 transmitters and at least 4 receivers.

Most of the systems you'll find are Beltpacks with 1/4" cables, but the connector on the transmitter is 1/8" just like an AKG and you can find tons of cheap headset mics that will work just fine. Wired correctly they provide bias voltage for mics.

Caveats: The Beltpacks are cheap plastic and the battery door was designed by a sadist. There's a "guitar pedal" receiver, a  tabletop receiver, and a Rackmount receiver available, each with some specific features. There are also two "levels" of audio quality [XDS and XDS+] with some of the transmitters and receivers only supporting XDS. That said, for a talkback mic XDS would be just fine. But if you get XDS+ it's basically ruler flat from 10 to 20K with a TON of dynamic range.

Again, these can be hard to find. But there's one right now on FleaBay for 200 or offer. Honestly, it's worth the 200 bucks, but you could probably offer less and still get it.

final caveat: these are WAY discontinued, so if it breaks you're throwing it away....

I would re flow the solder connections on the crossover board. A couple of the connections on the six pin connector kind of look questionable.

but otherwise my live mixes are heard by all in glorious mono.

Elvis preferred mono... and who am I to defy the King?   

If there's anything you can do to avoid using anything in the 2.4ghz band, it's usually good advice to do it.  It's not a question of if you'll run into problems, it's when.

While a talkback mic may be of low importance, invariably it will become extremely important at some point, and that's when it'll fail.

A general caution about 2.4GHz systems.  We avoid 2.4GHz systems after experiences where devices worked great during sound check and then 5,000 bodies with cell phones walked into the show.  This applies to mics, IEM's, wireless DMX, and tables for control.  So far 5.8GHz has been good and multiband routers using the higher frequencies have worked well.  I just make it a habit to avoid 2.4GHz.

With this information I'd be blaming the UK importer/distributor for failing to serve customers.  To you, it's the same result but from a different actor.

I am.  But it doesn't help me as it's all part of the supply chain.

Obviously judicious panning is part of being a good live mixer.{...}

I dunno, I haven't touched a console pan knob in years and people seem to keep hiring me.

Seriously though, I gave up on level-based stereo panning in a live environment years ago because (a) I want to make sure that the entire audience hears roughly the same show regardless of where they're sitting, (b) like others have mentioned, I've attended shows where it was clear to me that the mix at my seat was being compromised in favour of those sitting closer to the middle, and (c) I'm typically not able to move around enough while mixing a show to be comfortable that I'm ensuring the former and preventing the latter. I am willing to use delay- and EQ-based panning when I have the time to set it up, but otherwise my live mixes are heard by all in glorious mono.

-Russ