★★★★★

“continually manages to entertain and surprise”

How do you fit humanity’s 300,000-year existence on planet earth into an hour? Jack Godfrey and Ellie Coote somehow do just that in their new musical ‘Hot Mess’, transforming the messy relationship between people and the planet into a toxic romantic relationship between ‘Earth’ (Danielle Steers) and ‘Humanity’ (Tobias Turley). It shouldn’t work as well as it does.

Steers immediately sets the tone with her stellar vocals as her character laments her ongoing singledom, having not found a species of ‘apex predator’ to her liking since the sexy short-armed T-rexes of millions of years ago. This anthropomorphic iteration of our planet is no ‘Mother Earth’ or mythic ‘Gaia’ – she is a millennial in a satin green nightgown with an endless stream of geological puns up her sleeve. Earth dances confidently around her stylised living room, an effectively layered set by Shankho Chaudhuri, complete with blue floors, green furniture, and lots of plants. In bursts Humanity: a white guy in gold-rimmed glasses and a sheepskin jacket, of course. Turley matches Steers’ outstanding voice as they whirl through an impressive array of musical styles. Co-orchestrators Godfrey and Joe Beighton have done a particularly good job of capturing the epic scale of this relationship in their pleasing electronic compositions.

As Humanity, Turley also stands out for his portrayal of the self-centredness, short-sightedness, and greed that leads to the inevitable breakdown of their relationship.

Intelligent and ambitious, Humanity’s quick development from hunter-gatherer to farmer to self–appointed architect-of-the-world is only possible because he has no qualms about exploiting his girlfriend, his ‘only home’, for her many resources (cue silly drilling innuendos). His adulterous trip to the Moon and unwarranted introduction of planes and cars, cleverly incorporated into the soundscape (Paul Gatehouse & Charlie Smith), drive Earth further to the edge, resulting in literal stormy weather, cleverly represented in Ryan Joseph Stafford’s light(n)ing design.

Naturally, the audience can see where the relationship will go from a million miles away, but ‘Hot Mess’ continually manages to entertain and surprise regardless. It transforms the climate crisis into a narrative of romantic fall-out so familiar that it allows the viewer to easily grasp some of the underlying issues that have caused it, pointing to humans’ essential solipsism and carelessness. In the end, Earth realises it does not need Humanity and kicks him out of her home, after which he finds refuge with a much more toxic partner, Mars. Despite that bleak prospect, you’ll be walking out of this show with a smile on your face.

INTERVIEW

Riverside Studios

★★★

“a technological marvel with a political and social edge”

Interviews are a game and interviewers hold all the cards… right? But what if someone changes the rules? ‘Interview’ explores the nature of perception, truth and controlling the narrative in this technologically brilliant battle of the sexes. Though for all its tricks, it lacks punch.

Adapted and directed by Teunkie Van Der Sluijs, ‘Interview’ is a story of turning assumptions into ammunition. Katya, social media star turned actor, is tired of the world editing her narrative and arranges an exclusive interview so she can finally be ‘seen’. Her reluctant interviewer, Pierre, believes the ‘puff piece’ beneath a ‘senior analyst of international affairs’, though we later learn why he’s fallen from grace. The interview is a power struggle, each fighting for control. One wins. Though at what cost.

Produced by Douglas Denoff and based on the 2003 screenplay by Theodor Holman and film by Theo Van Gogh, Van Der Sluijs’ adaptation brings this commentary on the power of perception partly up to date. Katya’s social media prowess is evident in her word-perfect livestreams and adept cinematography. In fact, her curated self is the perfect foil to the transparency she claims to seek. Meanwhile, Pierre’s downfall is ego and privilege, made all the more stinging by today’s age of self-awareness. However, I take issue with the gender dynamics. Katya’s character relies on tired tropes, such as the manipulative, vengeful woman whose sole aim is to bring down a man she’s just met. It makes her less believable and is rather disappointing given how fresh other elements of the adaptation feel.

Van Der Sluijs’ direction ingeniously uses social media to create dramatic irony. Phones are a pervasive third party, creating a secret window into Pierre and Katya’s private worlds and revealing things they would rather hide. In fact, the tech is fantastic. The seamless combination of set (Derek McLane), lighting (Jackie Shemesh), video (idontloveyouanymore) and sound (Ata Güner) allows messages and notifications to pop up in real time on the rear wall of the stage, perfectly capturing the feel of our digital world (including how it can be overstimulating at times). Sometimes the actors themselves are projected, and this strategic shift from actors to images heightens the disconnect between reality and social media. A truly impressive and masterfully executed collaboration.

Costume design (Bernat Buscato) drives the narrative, as Katya’s continual changes contrast with Pierre’s immutable presence. Katya also strips her public persona to reveal increasingly relaxed (and interestingly more covered up) versions, a great nod to the final reveal. The varied soundscape (Güner) mirrors the power struggle, Katya shifting the energy even when Pierre resists.

Robert Sean Leonard as Pierre and Paten Hughes as Katya both give stirring performances. Leonard broods and plots, bringing a gravity that belies his troubled past. Hughes fizzes and disorientates, fluidly flipping through roles and keeping Pierre off balance. A little more slickness would bring out their clashing energies even more; currently, some of the exchanges feel a little sluggish when they should crackle with wit. However, this is early in the run and I’m sure the sparks will fly in time.

‘Interview’ is a technological marvel with a political and social edge. Some elements soar; others stumble. Katya could use a modern edge, but at least she’ll ignite debate on gender and power.

HOT MESS

Southwark Playhouse Elephant

★★★★★

“continually manages to entertain and surprise”

HOT MESS

Southwark Playhouse Elephant

Reviewed on 22nd October 2025

by Lola Stakenburg

Photography by Helen Murray

Previously reviewed at this venue:

HOT MESS

HOT MESS

HOT MESS

INTERVIEW

Riverside Studios

★★★

“a technological marvel with a political and social edge”

INTERVIEW

Riverside Studios

Reviewed on 28th August 2925

by Hannah Bothelton

Photography by Helen Murray

Recent reviews from this venue:

INTERVIEW

INTERVIEW

INTERVIEW

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