Review: Clarkston (Trafalgar Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

The success of TV sensation Heartstopper thrust its young cast into the spotlight, with many of them popping up in various West End shows in the years since the series first premiered. Both of its lead stars have already enjoyed runs on Broadway, but neither has made it to the West End… until now, that is, as Joe Locke makes his West End debut in the UK premiere of Clarkston, but would this tale of two young Costco employees deliver in bulk, or would this play prove more flat-packed than fully stocked?

Clarkston is centred around Jake (Joe Locke), who travels West on a journey to rediscover himself, exploring his ancient family connections to intrepid explorers Lewis and Clark. Taking a job as a nightshift worker in Costco, he forms an instant connection to co-worker Chris (Ruaridh Mollica). Together, the pair explore their own demons from the past that threaten their very future, while attempting to make sense of the unexpected connection they find together. Would their burgeoning relationship give their lives new meaning, or would too many obstacles get in their way?

Written by Samuel D. Hunter, perhaps best known for the Academy Award-winning The Whale, Clarkston is full of riches when it comes to the themes explored. Love, friendship, tolerance, and acceptance are all prominent as the play tackles sexuality, health and addiction. That might seem like a lot to unpack in one speedy 95-minute play, but luckily Costco workers are used to working at speed. 

There is much more to Clarkston than initially meets the eye. The play keeps you guessing where it is going to go next, right from its opening scene, where Jake reveals something about himself to not be greeted by the expected response. This continues throughout the scenes that make up the play. Though it is the complexities of the relationship between Jake and Chris that make up the heart of Clarkston, a subplot featuring Chris and his mother (Sophie Melville) adds more depth to the play, weaving in far more in a tender and sensitive exposition of dependency. It may feel like an odd comparison to make, but I couldn’t help thinking about Dear Evan Hansen, mainly for the mother and son dynamic as their scenes felt reassuringly familiar, as did a touch in the play’s final moments. Though the themes Clarkson explores are mostly different, it does feel like this could have been a distant descendant of that musical.

Hunter’s writing is exquisite - full of intrigue and intensity while never forgetting the very essence of humanity. It is further elevated by Jack Serio’s intimate direction. There are no bells and whistles when it comes to Clarkston, with a predominantly bare set design by Milla Clarke exposing every inch of the stage, even the uglier aspects that are usually glossed over. In that respect, it is a good metaphor to the play itself, though this allows for no distractions, so you can focus on the three powerhouse performances on the stage. Serio uses this to his advantage, bringing every mannerism, every movement, and every inflection to the forefront and making them carry so much more than they perhaps would had there been more to the staging other than one stack of shelves.

If there is one aspect of Clarkston that is guaranteed to take your breath away, it is the incredible cast of three who bring the story to life. Joe Locke has a natural charisma to him, and he uses this to his advantage with his portrayal of Jake. Often understated and withdrawn at times, Locke delivers a sensitive approach to the loveable yet complicated character. Though Jake is very open about himself and his situation, there is a real air of mystery to him, and Locke excels at exhibiting this, in a real less-is-more approach that carries with it a huge impact.

Ruaridh Mollica is nothing short of sensational in his turn as Chris. Though he and Locke don’t have the most conventional chemistry on stage, there is a weird authenticity to their dynamic that makes their time on stage together all the more riveting. Early on, Mollica portrays Chris with erratic, unstable and intense tendencies, but gradually, the walls come down to reveal a character with so much more to offer than initially assumed. The Chris we see at the play’s climax feels like a natural progression from the one we meet 90 minutes previously, and Mollica’s ability to deliver this slow-burn performance is awe-inspiring at every turn.

Though her stage time is comparatively limited to the other two, Sophie Melville more than makes her presence felt as Chris’ mother, Trisha. There is an immense intensity to her presence, with much left to the imagination as the mother and son discuss what has caused their fractured relationship. It is the art of leaving things unsaid that makes both this dynamic and Melville’s performance soar, but it is in her explosive final appearance that the play reaches its peak. In a far cry from her previous appearances, the repercussions of that scene shook me up, with Melville delivering the most powerful piece of acting on that stage in her final minute there. Trisha may not form the bulk of the story, but she is an integral part of Chris’s journey, and how he and Jake can move toward a future, and Melville embraces this with a perfectly performed piece.

Each of the three characters appears at a crossroads during Clarkston, and the co-dependency explored between both of Chris’ relationships allows for a thought-provoking and powerful piece. Perhaps it's not completely perfect, with a couple of choices in direction not quite landing in the way I had hoped, but these few imperfections add to the charm of the play. These characters are imperfect and their lives are imperfect, so in a sense, the way Clarkston explores them could be seen as perfect in itself. With fantastic writing and incredible acting, Clarkston may have appeared lost at first, but eventually it found all the right ingredients for a gripping watch.

Clarkston plays at Trafalgar Theatre until 22nd November. Tickets from https://allthatdazzles.londontheatredirect.com/play/clarkston-tickets

Photos by Marc Brenner