The Forsytes Recap: Secrets in the Gazebo

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I realize many of you have already seen this show – it first came out in the UK last fall – or perhaps you’re familiar with a different version, or even the original book! I generally try to go into shows knowing as little as possible so I can enjoy the story and make my own predictions. I’ve heard Soames is a flawed character, but I’m still hoping for the best for his relationship. Who knows, maybe this time things will turn out differently! After all, people often enjoy seeing classic stories reimagined.

The story picks up with Frances reeling from the discovery that the Dressmaker Louisa’s children are actually Jolyon’s, the result of a past affair. Back home, Louisa becomes extremely distressed as everything is coming to a crisis point. Frances decides to postpone dealing with it, however, as the family is attending the opera that evening – a vibrant and worthwhile art form! – and she’s invited the Carterets to join them in their box seats. The Forsyte parents are hoping to arrange marriages, pairing June with Boy Carteret and Soames with Girl Carteret. But their plans are complicated by June’s independent spirit and Soames’s secret infatuation with a ballerina named Irene, something his family doesn’t know about.

Bill, Jolyon’s father, has announced that Jolyon will eventually take over the brokerage, but Bill is still running things, which is a good thing. Jolyon doesn’t look the part – he’s showing up to work without a tie and looking completely casual. Honestly, he seems more interested in daydreaming about his past life in Venice with Louisa. He’s longing to be an artist in Europe with the woman he loves, and he really should pursue that. Soames and his father complain that giving Jolyon the job just because of family connections is outdated, and they’re right. Jolyon isn’t suited for the position; he seems to be barely holding it together, relying on his wife and father to keep him going.

Okay, let’s talk about Frances. Honestly, I’m completely on Team Frances here – she’s a total powerhouse and handles everything so well. Maybe she could be a little more supportive of Jolyon’s painting, but you gotta remember, therapy wasn’t really a thing back then! What I really appreciate is how quickly she picked up on the connection between Jolyon and Louisa. She went to see Louisa right away, subtly gathering intel. And she doesn’t shy away from reminding Jolyon he’s a grown man with obligations. Another visit to Louisa, figuring out her angle, and then when she discovers Jolyon knows about the kids, she has this incredibly calm and direct conversation with him. I just love her! Though, a part of me, as a total soap opera fanatic, secretly hopes she has some kind of epic emotional collapse later – it’s practically required! Jolyon, though? He doesn’t deserve her, not one bit.

Soames and Irene spend time together in a park, looking at art that’s still being created. Honestly, I don’t care what happens next – I’m completely charmed by Soames. He hangs on every word Irene says, while she seems delicate and shy. They later take a boat ride and have a picnic by the lake. When they talk about her dancing, he draws a parallel to his own skill with numbers, explaining that both require technique and practice. He quickly clarifies, though, that he doesn’t consider himself artistic! It’s fascinating to watch him try to connect with Irene while still appreciating her talent and even putting it on a pedestal. I’m obsessed! If you’re new here, just know I’m openly gay, but even my wife caught me exclaiming “aw” repeatedly while watching this episode, always in response to Soames. He’s both the best and possibly the worst. Irene mentions she’s hoping to travel to Paris soon.

It’s fair to ask if Irene cares about Soames at all. Let’s put that aside for now and focus on the opera. They’re watching La Traviata, which is a classic for a reason – it’s just that good. If you’re familiar with Moulin Rouge, you’ll recognize the story. The Carterets and Forsytes are together in a box seat, and Frances pushes June towards Boy Carteret. June starts quizzing him about Frankenstein, oddly focusing on the creature’s lack of free will. It’s a bit of a misinterpretation, June – the book is really about Mary Shelley’s own struggles, not yours. June then accidentally bumps into another young man, possibly named Philip Bassoon. He hands her a pamphlet about the Fabian Society, a British socialist group, and quickly leaves. It seems we haven’t seen the last of this mysterious young man.

Right now, we’re getting to hear “Addio del passato” from La Traviata, and it reminds me of a funny story! When I graduated from my small Christian high school, we each got to choose a song to play with our senior photo, but it had to either be about God or be an orchestral piece. I chose the part of “Addio” where Violetta basically pleads for God’s forgiveness, and surprisingly, the school approved it! What I really wanted to use was a different, more upbeat song, but those rarely mention God, so this was the compromise. It’s also cool that this recording features a mezzo-soprano – usually, Violetta is sung by a soprano. And yes, it is fun!

Honestly, the opera scenes? They’re all about setting the mood, and not much else happens. There’s this character, Carteret, who tells Soames she loves La Traviata – super predictable, right? But he totally brushes her off because she’s not the fragile ballerina type he’s into. Come on, Soames, give the girl a chance!

When Louisa points out the difference in their social standing, Jolyon defensively asks if a gentleman has never married a lady’s maid, referencing the unpopular novel Pamela. He then goes to her shop, much to her dismay, and is initially asked to leave. However, he returns later and discovers he has two children with Louisa, completely disrupting everyone’s expectations. Meanwhile, Jolyon’s father and Frances have a secret conversation where she informs him about the situation and how it could jeopardize Jolyon’s job. Frances hopes Louisa will keep quiet, but underestimates Jolyon’s persistence in pursuing a relationship Louisa clearly wants to avoid.

As soon as Jolyon got home, he and Frances talked about the situation. They communicated really well, setting a great example. It’s a far cry from the dramatic reactions you’d see in a period drama like The Gilded Age, where someone might sulk for days! Frances worried that news of Jolyon’s children born outside of marriage could damage his reputation and their family, and she wished they could just avoid dealing with it. Jolyon didn’t want to pretend the children didn’t exist, which upset Frances, and she made him promise to keep it a secret for now, fearing it would be disastrous for his career and their marriage. Their daughter, June, overheard the conversation and was angry with Jolyon.

Let’s talk about Irene and Soames. Irene doesn’t feel romantically about Soames at all—she just appreciates him as a friend. However, Soames, feeling pressured by Irene’s upcoming move to Paris, suddenly confesses his deep love for her, telling her she’s his greatest desire and he can’t live without her. Honestly, it’s a bit much! Irene is completely surprised by this. Sensing he might be rejected, Soames awkwardly proposes a trial engagement – he’ll let her call it off if she’s unhappy. Irene smiles, and Soames looks absolutely thrilled.

The story concludes with June planning to have a serious conversation with Jol’s aunt, Frances rediscovering Jol’s artwork, and Soames enjoying a cigar, clearly pleased with how things turned out. I really love this show!

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2026-03-30 06:00