Tobias Turley and Danielle Steers in Hot Mess. Photo by Helen Murray

Written by Ziwen for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

There are many love stories between people, but what about a love story between Humanity and Earth? As soon as I came across this concept, I was immediately intrigued. The idea comes from the musical Hot Mess, written and directed by Ellie Coote, with lyrics and music by Jack Godfrey. After selling out at the Edinburgh Festival Fringe, this two-actor show has arrived at Southwark Playhouse in mid-October.

Earth (Danielle Steers) has been single for a long time. Although she has gone through billions of years of messy relationships, it may be time to start a new romance. Just then, she meets Humanity (Tobias Turley). This newcomer seems a little strange, but as they spend time together, Earth finds this chatterbox who is always talking about her kind of cute and decides to give it a try. At first, everything seems to flourish under their cooperation. But as Humanity’s endless ambition grows, Earth begins to feel increasingly uncomfortable, and it seems that Humanity is no longer the right partner after all…

On the stage designed by Shankho Chaudhuri, a large shelving structure stands tall, filled with an assortment of everyday objects: books, potted plants, a small wooden mannequin used for drawing, a telephone, a desk lamp, clothing, and a large box containing research drawings by Humanity. In addition to the vibrant and lively lighting (Ryan Joseph Stafford), the shelf is also inlaid with flickering LED lights. However, although the stage design is interesting and full of a sense of daily life, it feels somewhat static and doesn’t fully bring out the unique qualities of the piece. Perhaps, before Earth encountered Humanity, the stage could have been filled with more plants. As humans appeared, the landscape could gradually be replaced by various man-made objects. In this way, the shifting layers of the relationship between the two characters can be reflected even on stage. I particularly liked the moments when the performers moved into the aisles among the audience, this boundary-breaking choice deepened the intimacy of the small stage and created a stronger sense of immersion.

Songs play a crucial role in musicals, and this production features several truly memorable numbers. Among them, I especially enjoyed ‘Better With Time’ and ‘Tomorrow’. In Better With Time, Earth and Humanity sing: “And I’ll still show you in occasionally, but you know that’s been okay with me, cos I can’t help feeling this was meant to be”. Though the lyrics are simple, they carry a natural romantic quality. And after hearing Tomorrow just once, the melody of the Humanity singing “I'm gonna figure it all out tomorrow, tomorrow, tomorrow, I can always pay back what I borrow, I borrow, I borrow” is already etched into my mind. I'm also rather intrigued by what follows: “Well tomorrow and tomorrow creeping in this petty pace, I don't want to waste a minute yeah I'm all about the race, make another million, the motto in the back of my mind.” Again, though the lyrics are not particularly complex, they convey Humanity’s changing mindset with remarkable clarity. Danielle Steers and Tobias Turley’s voices are perfectly suited to these songs. One has a deep, resonant tone full of tension, while the other is light and bright. Together, they create a uniquely harmonious blend.

Like two distinct vocal tones, Steers and Turley are ideal choices for these characters. Steers exudes a steady, embracing energy while also capable of sudden bursts of intensity. Turley, meanwhile, has an innate charm; even when blinded by ambition, he doesn’t come across as malicious but rather makes people feel that he simply wants to better himself. Watching their interactions often makes me smile along with them, which is truly precious. However, in the current work, the two characters’ states remain largely unchanged from start to finish. If we could see more significant changes in the characters, they would become better-rounded, and the story would be more engaging.

This brings us to the biggest issue with the show. Although it covers a lot of material, much of it is only touched on superficially, and some parts even lack focus, which is largely due to its runtime. There are many times when the audience is ready to delve into the characters’ psychologies, but the characters don’t give us that opportunity. While the story’s ending has its moments of charm, it isn’t fully satisfying, which is a slight pity, because the show already possesses almost all the essential elements of a great musical.

Interesting concepts, a story with room to grow, great songs, and talented actors - Hot Mess has already got all of them. When I consider it as a piece performed at the Edinburgh Festival Fringe, with its limited runtime, I completely understand why it is presented in its current form. But with more time at its disposal, I can imagine it evolving into a much more fully realized musical. I hope this work doesn’t stop at being just a small, charming romantic comedy, because there’s so much untapped potential waiting to be explored.

Hot Mess: A New Musical runs at Southwark Playhouse Elephant until 8th November 2025

★★★★

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