English Ako at Camden People’s Theatre

Camden People’s Theatre has made it its mission to champion emerging artists and empower them to speak their truth, without filters or limitations (and those power dynamics that often come into play in the art world), providing a safe haven for young and early-career artists who want to take creative risks, talking about “issues that matter to people right now”. Actor/playwright Jules Chan’s solo show, English Ako, is a wonderful example of this.

Born in Manila and raised in England, Chan figuratively (and at times also literally) undresses on stage, peeling off layers of self until he is entirely exposed to his audience, layer after layer. He shows a natural predisposition for comedy, particularly physical comedy, with impeccable timing and a lovable nonchalance. These lighter moments also perfectly intertwine with the deeply emotional ones – a balance that is well maintained in part one, while part two sees many knees-on-the-floor moments, heights of drama that, perhaps, could have been condensed into one. Overall, Chan’s storytelling remains consistently captivating as he manages to hold his audience’s attention, which is a hard feat to achieve, especially in solo shows.

Chan kicks things off with a powerful metaphor: a watch he received from his father, who gave him the gift of time. He then narrates his journey into adulthood, while navigating life as someone who is both South East Asian and British, with humour, tenderness and a candour that seemed to strike a chord with many. To get to that point, however – the idea of being both – Chan explores what it meant for him to be either Asian or British, often feeling the need to lean into stereotypes to fit in, to belong. All he ever wanted was to find his home, to feel accepted and beautiful. In one of the most powerful moments of the show, he smothers his face in white paint. He does not hide his pain – the racism and violence he experienced – in complex or highly abstract metaphors, but instead gives a raw and direct representation of what he had to go through during his journey of self-acceptance and self-discovery.

The writing and acting do a brilliant job of bringing to life the different members of Chan’s family – his dad, mum, and brother – encapsulating all their distinctive traits, personalities and quirks. The play also captures the idea, which often shapes the migrant experience, of having to prove one’s worth through sacrifices and hard work, to prove that, yes, this is where one is supposed to be, this is home. It would have been great, however, to see even more of his relationship with his brother, and see them interact. Overall, the writing truly shines when the interior conflict is expressed through actions and events – so less telling and more showing.

With this show as his debut, a powerful first statement, Chan is on the right path to making an impact in the theatre world; he’s definitely one to keep an eye on.

Benedetta Mancusi

English Ako is at Camden People’s Theatre from 27^th until 28^th July 2024. For further information or to book visit the theatre’s website here.