Joe Locke [pictured front], who you’ll know for his breakout role in the gay hit Netflix series Heartstopper, is celebrating his professional West End stage debut in Clarkston, a new play by Samuel D Hunter. The playwright, best known for his work on The Whale—which inspired the Oscar-winning film—offers audiences a dense, emotionally charged narrative set in a small American town. The production runs until late November 2025.
In Clarkston, Locke portrays Jake, a young CostCo employee grappling with a recent diagnosis of Huntington’s disease, a degenerative illness that severely limits his lifespan. The play centres on Jake’s search for purpose and connection in the face of this crushing prognosis. He forms a complicated bond with Chris, played by Ruaridh Mollica, a fellow worker also wrestling with personal issues, including a fraught family relationship and internalised homophobia. Sophie Melville completes the trio as Trisha, Chris’s mother, who is battling long-term addiction. The triadic relationships establish a somber exploration of isolation, vulnerability, and the yearning for human connection amid life’s hardships.
Clarkston is characterised by a persistent bleakness that refuses to offer easy comfort or sentimentality. The characters’ flaws and difficult decisions unfold visibly on stage, creating tense, often uncomfortable moments. The play does engage important themes for LGBTQ+ audiences, notably the struggles of being openly gay in a conservative small-town environment and the barriers to emotional openness when one fears further hurt. The narrative invites reflection on how people attempt to find meaning even when their futures feel irrevocably limited.
Despite these ambitions, critical reception reflects a mixed response regarding the play’s emotional impact. Reviews consistently acknowledge Joe Locke’s strong and nuanced performance, highlighting his portrayal of Jake’s fragile but resolute spirit. The chemistry between Locke and Mollica has been noted as a central strength, capturing the complexities of male friendship and platonic love within a constrained social context. Locke himself has spoken about the challenges and excitement of his West End debut, emphasising the delicate task of portraying a character with a degenerative condition and bringing authenticity to the dialogue about friendship and illness.
However, some critiques point to shortcomings in the play’s execution. Several reviewers describe the dialogue as overly explicit and predictable, detracting from the emotional depth the material aspires to convey. The staging, reliant on a largely static set with minimal scene changes, and dialogue-heavy interactions, has been seen by some as limiting the production’s dynamism and engagement. While the play’s themes are undoubtedly poignant, the storytelling texture and pacing have occasionally failed to fully resonate with audiences, leaving a sense of detachment rather than catharsis.
Clarkston thus emerges as a challenging piece that spotlights important LGBTQ+ and broader human issues without the cushioning of lighter moments or facile resolutions. It is a meditation on loneliness, resilience, and the search for companionship amid adversity. Though it may not entirely satisfy those seeking an emotionally transformative theatre experience, it remains a noteworthy addition to the West End, especially for showcasing Joe Locke’s expanding range beyond his acclaimed screen work.
Source: Noah Wire Services
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