Hot Mess

Climate change, but make it musical. Hot Mess takes on the relationship between Earth and Humanity and spins it into a love-hate duet that’s as messy as the title suggests. There’s plenty to enjoy here—gorgeous design, powerhouse vocals, and some striking technical work—but it doesn’t always feel fully baked.

Ellie Coote’s direction keeps the show tight and impactful; it’s never confused about what it wants to say. The staging feels intentional and well-paced, which is no small feat at the Fringe. Choreography, while peppered with some nice touches, doesn’t stand out—it does its job, never distracts, but never dazzles either.

Visually, the set and costumes by Shankho Chaudhuri are a treat. Two enormous set pieces cleverly morph into different spaces, and the designs have a playful quality that suits the tone. The costumes are equally well thought out—Humanity’s is instantly recognisable, while Earth’s takes a moment (or an in-show explanation) to click, though both are lovely to look at.

The real star of the production is Ryan Joseph Stafford’s lighting design. Lights are hidden in every nook and cranny, creating rich textures and surprising effects that feel far more ambitious than your usual Fringe fare. Add Paul Gatehouse’s clean sound design into the mix, and you’ve got a production that looks and sounds polished.

The writing itself is more of a mixed bag. Coote’s book has an interesting premise, but the tone sometimes wavers—serious one moment, playful the next—without fully committing to either. The music and lyrics by Jack Godfrey and Joe Beighton are pleasant, genre-consistent, and easy to listen to, though not especially memorable. A few numbers land, others drift by.

What elevates the score, though, are the performers. Danielle Steers (Earth) and Tobias Turley (Humanity) are vocal powerhouses. Their chemistry crackles, their harmonies soar, and together they make the material sound better than it reads on paper. Still, both characters feel underwritten—more archetypes than fully fleshed beings—which makes it harder to invest emotionally, especially when the story pivots into more serious territory.

Overall, Hot Mess is exactly that: a show with exciting elements, stunning visuals, and sensational vocals that sometimes gets tangled in its own tone. With a bit more clarity in its writing and character work, this could grow into something unforgettable. For now, it’s alright at the Fringe—just not yet great.