Clarkston at a glance

Show
Clarkston
Status
Closed at the Trafalgar Theatre · UK premiere ended 22 November 2025
Future dates
No transfer or UK tour currently announced
Genre
Play (American contemporary drama)
Running time
Approximately 1 hour 35 minutes, no interval
Age guidance
12+ (includes discussions of drug use and suicide)
Writer
Samuel D. Hunter (The Whale)
Director
Jack Serio (Uncle Vanya, Grangeville)
Cast
Joe Locke as Jake · Ruaridh Mollica as Chris · Sophie Melville as Trisha
First staged
Dallas Theater Center, 2015
Off-Broadway run
2018 at Rattlestick Playwrights Theater (paired with Lewiston)
London run
September – 22 November 2025 (strictly limited season)
Producers
Oliver Roth & LD Entertainment

Looking back: Joe Locke in Clarkston at the Trafalgar Theatre

4.4
★★★★½

LTH Retrospective Rating

The Verdict

Samuel D. Hunter writes small plays about small American towns. Or rather, plays that look small at first and reveal themselves to contain everything that matters. The Whale, A Case for the Existence of God, Greater Clements, Lewiston, Clarkston — Hunter's body of work circles a particular kind of person in a particular kind of place, and excavates a kind of vulnerability that British theatre, with its tendency toward verbal pyrotechnics, often struggles to find on its own stages. Clarkston, paired with Lewiston since both plays first appeared, is one of his quietest and most precise pieces.

What the Trafalgar Theatre production had going for it was casting. Joe Locke, fresh from Heartstopper and Agatha All Along, brought to Jake the particular openness that has made him a magnet for queer coming-of-age roles on screen — but Hunter's writing requires more of him than that, and Locke delivered. Ruaridh Mollica, as Chris, was a quiet revelation. Sophie Melville, as Chris's mother Trisha, did the kind of work that won her the Evening Standard Theatre Award nomination for Iphigenia in Splott. Jack Serio's direction was unshowy and exact. It was, in short, a UK premiere that made the case for Hunter being staged here more often.

What Makes It Special

  • Joe Locke's West End debut. His Donmar performance in The Trials (2022) won him the WhatsOnStage Award for Best Professional Debut. His Broadway turn in Sweeney Todd (2024) confirmed he could hold a major stage. Clarkston pushed him further: a quiet, naturalistic American role with no easy entry points. He delivered.
  • Samuel D. Hunter at his most precise. The Whale (which became the Oscar-winning Brendan Fraser film) is Hunter's best-known piece, but Clarkston is, for many readers, his best-written: a 95-minute play that does more emotional work than productions twice its length.
  • Sophie Melville as Trisha. Trisha is a difficult role — a methamphetamine-addicted mother whose love for her son is real and corrosive in equal measure — and Melville played her with a restraint that refused to let the character become a caricature.
  • Jack Serio's direction. Serio (Uncle Vanya, Grangeville, A Case for the Existence of God) has emerged in the last five years as one of the most acutely sensitive young American directors of intimate naturalistic drama. His staging at the Trafalgar — in-the-round, minimal set, slow pacing — gave the play space to breathe.
  • An American premiere that travelled. Clarkston is not a play about being British. Hunter's specific American landscape — the highway towns of the Pacific Northwest, the lingering myth of the Lewis and Clark expedition, the loneliness of working overnight at a Costco — survived the transatlantic move because the emotional architecture is universal. Loneliness, the search for meaning, the kindness of strangers met in unlikely places.

Everything You Need to Know

What happens in Clarkston?

Jake, in his early twenties, has flown west from Connecticut. He has just received a serious medical diagnosis and he is doing what a certain kind of young man does when he wants to escape the trajectory his family has been planning for him: he is driving as far away from home as he can. He has taken a job stacking shelves on the night shift at a Costco in Clarkston, Washington — a town of about seven thousand people on the Snake River, named after William Clark of the Lewis and Clark expedition.

Meeting Chris

Chris is the other person on the night shift. He is local, in his twenties, gay, and has never left Clarkston. He lives with his mother Trisha, who is dependent on methamphetamine. He has been turning down the chance to leave town for years, partly out of love for her and partly out of fear. He recognises Jake's quiet, half-articulated despair immediately. They become friends.

The Lewis and Clark conceit

The play's running metaphor is the journey of Meriwether Lewis and William Clark, who passed through this same stretch of the Pacific Northwest in 1805. Chris is fascinated by the expedition; he describes himself and Jake as "the last American pioneers." It is partly a joke about the diminished scale of contemporary American lives, partly genuine: the play asks whether the search for meaning that drove Lewis and Clark west has any contemporary form, or whether it has been reduced to night shifts and Costco breakrooms.

Jake's diagnosis

What Jake has been told he has — and how long he has been told he has it for — is held back until well into the play. When he tells Chris, the moment is delivered without melodrama. The play is interested less in the diagnosis itself than in what it does to Jake's sense of what his remaining time is for. The answer that the play offers is not consoling exactly, but it is honest: time is for connection, and connection sometimes comes from the people you happen to be standing next to in a warehouse at 3am.

Trisha

The play's third major character is Chris's mother. Trisha arrives at the Costco mid-shift, looking for money, looking for Chris, looking for what addiction makes you look for. She is not a villain; she is loved, and she loves back. The play's most affecting scene is the one in which Chris finally tells her that he is leaving with Jake. Whether he actually does leave — and whether Jake makes it through what's coming — the play leaves with characteristic understatement.