Samuel D. Hunter’s Clarkston, now receiving its UK premiere at Trafalgar Theatre, is a quietly devastating work of rare emotional depth and a must-see West End premiere. Directed with precision and empathy by Jack Serio, this intimate American drama unfolds with grace, offering a deeply human exploration of friendship, mortality and the search for meaning in a world that often feels devoid of it.
Jake (Joe Locke), a young man living with a degenerative form of Huntington’s disease, has relocated to a conservative town in search of something; perhaps peace, perhaps purpose. He finds work on the night shift at Costco, where he meets Chris (Ruaraidh Mollica), a fellow misfit with his own burdens.
Their friendship, forged under harsh fluorescent lights and the watchful glare of their unseen boss Janice, blossoms into a romance of sorts. But this is no Heartstopper-style love story; it’s raw, complicated and quietly heartbreaking, shaped by trauma and the looming shadow of Jake’s condition.
The timing of this production feels especially resonant. Just this week, Huntington’s disease was successfully treated for the first time using gene therapy; a real-world breakthrough that casts new light on Jake’s fictional journey and adds a layer of poignancy to every moment on stage.
Hunter’s script is poetic and layered. The dialogue flows naturally, yet every line carries weight, laden with metaphors and sub-text. There’s no traditional arc here, no neat resolution. Time drifts, scenes bleed from one to another, and the characters remain suspended in a kind of emotional limbo. It’s a bold choice, and one that pays off beautifully.
Joe Locke, making his West End debut, is far more than a marquee name. Locke’s portrayal of Jake is nuanced and deeply affecting, capturing the character’s fragility and quiet determination with remarkable restraint. As a performance it is a revelation, and the chemistry with Mollica is electric.
Ruaraidh Mollica as Chris, delivers a tour de force performance that is equal parts tender, volatile and heartbreakingly sincere. This is not a supporting role but a co-lead, and Mollica rises to the challenge with extraordinary depth and charisma. Sophie Melville, as Chris’s mother, brings a fierce emotional honesty to the stage. Her scenes with Mollica are gut-wrenching, particularly their final exchange.
Jack Serio’s direction is understated brilliance. The use of onstage seating, while not functionally necessary, adds a layer of intimacy and claustrophobia that mirrors the characters’ emotional entrapment. The set, a convincingly drab Costco shopfloor complete with pallet racking and fluorescent lighting, is transformed through subtle shifts in illumination – a harsh yellow for the carpark for example, culminating in a final scene that is visually and emotionally stunning.
Clarkston is a play that speaks softly but leaves a lasting echo. It’s a meditation on mortality, friendship and the quiet courage it takes to keep going. This production is a triumph for the West End and the kind of play that changes the way you view the world”
