Flora Gosling
- Aug 3
- 2 min read

Review: Forked (Summerhall)

An Identity Crisis in Notting Hill

If you grew up in the UK, you are probably tired of a certain narrow perception of British culture – all posh society, “terrible” food, and Harry Potter. Extra points if they mention Mel Gibson when Scotland comes up. But it is easy to forget those ideas of Britishness don’t just affect us, but it also means anyone who decides to move to the UK is in for a nasty surprise. In her solo show Forked Jo Tan plays Jeanette, a westernised Singaporean who moves to London and is shocked to discover that England isn’t all Enid Blyton, Richard Curtis movies, and Knicker-Bocker Glories. Worse still, she discovers that she isn’t quite the person she thought she was either.

As Jeanette, Tan has an endearingly dorky energy, but as a protagonist she doesn't stand out, especially amongst the host of colourful characters she plays. There’s Scott, an American with an uncomfortable liking for Asian women, Monsieur Laroche, an acting teacher with a penchant for dropping truth bombs, and “Yum Yum”, a sickly sweet Chinese student with hidden depths. Some are more well-rounded than others, but Tan’s comic timing and the interaction she creates between them are golden. Even so, the story takes a while to become engaging. At first, the only insight into the experience of being an immigrant in the UK is a few toe-curling microaggressions, and the focus on drama school feels like an excuse to talk about every actor’s favourite subject – their own industry.

That is until the cracks start to show in Jeanette’s life. Money troubles begin to weigh heavily on her, racist classmates show themselves for what they are, and the dream role that she hoped to land loses its luster. Even the Notting Hill Parade she dreamed of isn’t what she expects. It is at this point that we learn that this story of becoming an actor is not a self-indulgence, but a poignant metaphor for being a daughter, an immigrant, a friend and a partner.

The first half of Forked may be underwhelming, but given time the themes and the characters mature into a thoughtful and involving performance. Tan is at her best when she plays being angry, impassioned, or deeply lost. Even if she struggles to maintain her solo show outside of these moments, there is still enough here to recommend it, especially to anyone who has come to the UK and found it’s not what they expected. Three stars.