Clarkston review: Heartstopper’s Joe Locke puts on a confident performance in a timeless story

It was a star-studded occasion at the Clarkston press night on Thursday (25 September). As well as the likes of Andrew Scott and Tom Blyth, many seats in the stalls were occupied by the cast of Heartstopper, out in force in a touching display of support for one of their own, Joe Locke, making his West End debut. 

The play revolves around two men, Jake (Locke) and Chris (Sebastian’s Ruaridh Mollica), in the real-life town of Clarkston, Washington. Jake has just appeared in town and is following in the footsteps of his ancestor, William Clark of the famed explorers, Lewis and Clark; a legacy he struggles to live up to.

He’s joined Chris in stacking shelves at the local Costco with everything from Red Vines to large electrical goods. Things start off friendly with the potential for something more before the relationship starts to fray as the two men get to know one another. At the same time there’s Trisha (Sophie Melville), Chris’ mum, who is desperate to reconnect with her son after her struggles with addiction and start a new life somewhere else. 

Mollica is the obvious stand out. As Chris he is a live wire. You’re never quite sure when it’s going to go off and light up the stage and when it does it’s brilliant. Mollica brings nuance and range to his portrayal of a young man struggling for a way out and to find someone he can trust. Chris fees like the most realised character of the three and Mollica is someone you’re constantly watching in every scene to see what’s next. 

Joe Locke puts on a confident performance. Given the other career milestones he’s ticked off already, at only 22, it does seem remarkable that Clarkston marks his West End debut. His more considerable experience working in front of the camera shows, as his stage presence felt quite small and contained, not ideal for the theatre.

However, having seen his other work, I’m sure it can be put in part down to pre-opening night jitters and with more time in front of a live audience, I’m sure his performance will shine brighter. 

As Trisha, Melville brings an added spark to Clarkston. Scenes between her and Mollica feel the most alive and crackle with a nervous energy as she humanises a mother yearning for her son to come back to her and struggles when he understandably retreats. Melville brings layers and complexity to a woman caught in a deadly cycle, keen to find a way out but trapped in the grips of addiction.

Playwright Samuel D. Hunter has written a touching and timeless story that deals strongly with the ideas of loneliness and connection. Each character desperately wants it in different ways and struggles with how to get that, something that resonates far and wide.

Another core theme is that of legacy, mainly the desire to have one. For Jake, the struggle is with his lineage as well as what his own impact on the world can be, something he feels quite urgently. Chris acts as a counter balance to that, finding meaning in the quieter moments and accepting that not everyone has to be recognised on a grand level to live a happy life. Clarkston provides an interesting look at these subjects without getting bogged down in heavy philosophical debates, allowing the audience to stay tuned in. 

The play also touches on conversations around being gay as well as class and the disparity between rich and poor, also timeless and incredibly resonant in today’s world. Refreshingly, Hunter is more interested in platonic friendship than romantic relationships, as is so often explored. Clarkston also briefly touches on colonialism and its history, though this feels more secondary to its larger more universal themes.

One thing that feels unnecessary here is the staging. The play is set in the round with some audience members sat onstage. Director Jack Serio talks in the programme about using a “stripped-down aesthetic” and “theatrical essentialism,” using what you need and nothing more.

That’s all well and good, but had the audience not been onstage it wouldn’t have made any difference as far as I can tell. It came across more as a way to get more bums on seats than anything. 

⭐⭐⭐

Clarkston is playing at the Trafalgar Theatre until 22 November 2025. Get tickets here.