Grindr Mom Review London (2026) | Waterloo East Theatre

★★★★★

Jessica Martin as she becomes 'Grindr Mom'

Tucked beneath the railway arches and just moments from the buzz of the South Bank, Waterloo East Theatre feels like the perfect home for something a little mischievous — and Grindr Mom absolutely lives up to that promise. This European premiere is a sharply observed, unexpectedly heartfelt solo comedy that delivers big laughs while quietly pulling at the heart.

Written by Ronnie Larson and directed by Gerald Armin, the show follows a devoted Mormon mother who discovers her son Joseph is gay and decides, with the very best intentions, to join Grindr herself. What begins as a comic undercover mission quickly unfolds into something far more layered: a thoughtful exploration of love, faith, secrecy and the complicated ways parents try to protect their children.

At the centre of the production is Jessica Martin, whose performance is nothing short of captivating. Holding the stage alone for 70 minutes without an interval is a challenge, yet Martin makes it feel effortless. Her portrayal is filled with warmth, gentle humour and a playful touch of mischief that keeps the character relatable rather than naïve. The audience laughs easily with her curiosity and awkward discoveries, but there is also a growing emotional weight as her understanding of the world — and her community — begins to shift.

The storytelling is particularly strong. The narrative moves naturally backwards and forwards in time, mirroring the way memories surface and connect rather than following a rigid timeline. This fluid structure allows moments of humour and reflection to sit side by side, gradually revealing a deeper emotional journey. Her repeated insistence that she is “very good at keeping secrets” becomes both a running joke and a quietly heartbreaking insight into how she has navigated her life.

Some of the biggest laughs come from her attempts to understand Grindr terminology with the help of Siri and Alexa. These exchanges are brilliantly timed, with the devices offering hilariously cautious responses that contrast perfectly with her determined curiosity. The humour feels truthful and recognisable, capturing the generational gap without ever feeling unkind.

Beneath the comedy lies a genuinely touching emotional core. We never meet Joseph, yet his presence is deeply felt throughout. Through her stories, it is unmistakable how fiercely she loves her son and how sincerely she believes she is helping him, even when her actions are misguided. As her discoveries begin to challenge long-held beliefs about faith, family and identity, the play develops a quiet sadness that lingers beyond the laughter.

There is also an unexpectedly thoughtful reflection on connection. Her observation that Grindr is not truly a dating platform — that it can leave users feeling unfulfilled and returning in search of something deeper — is delivered without judgement, simply as a human truth. The play gently highlights how the search for intimacy can become addictive, regardless of background or belief.

Along the way, the production offers surprising insight into Mormon culture, woven naturally into the storytelling rather than feeling instructional. Particularly memorable is her theory that God does not always give you what you think you need — a belief shaped by her own longing for a larger family.

Funny, tender and ultimately rather moving, Grindr Mom is a reminder that acceptance is rarely a straightforward journey. Jessica Martin’s beautifully balanced performance ensures the show never loses its humanity, even at its most chaotic.

Dates: 18 February – 1 March 2026

Venue: Waterloo East Theatre, Brad Street, London SE1 8TN

Tickets: https://www.waterlooeast.co.uk