The production tells a hilarious and heart-warming story of a Korean family-run convenience store in Canada.
Kim’s Convenience has hit the stage in the UK, following in the footsteps of the hugely successful Netflix sitcom of the same name.
Inspired by the playwright’s own experiences of growing up in a convenience store, the play’s set mimics an actual grocery store filled with Korean snacks and drinks.
Unlike the five-season series that aired on Netflix, this production is only 80 minutes in length. Some audience members may recognize familiar dialogues and scenes from the series, such as the skit about the Honda parked outside his store which reveals Appa’s bitterness against the Japanese, but the play presents a complete story that is equally funny.
In this production, playwright Ins Choi, who wrote the original TV series, takes on the role of complicated father, Appa. His estranged son, Jung is played by Brian Law, and his rebellious daughter Janet is played by Jennifer Kim.
The focus of the play is the relationship between parents and children, between Appa’s first-generation immigrant values and those of his second-generation children, which is emphasised by the changing neighbourhood landscape.
As a proud and diligent patriarch of the family, Appa – played by Paul Sun-Hyung Lee in the TV series – takes care of the store and interacts with customers in a funny yet serious way. Tension arises in this play when Janet reveals that she wants to become a photographer, which upsets Appa, as he wants her to take over the store in the future.
This kind of generational gulf is further intensified by the unspoken past incident between Appa and Jung that Janet alludes to in a few scenes.
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Appa’s character has a magnetic force about him. He is demanding and critical and often argues with his daughter Janet. Yet deep down, he craves his children’s understanding and affection but is somehow unable to express them.
Janet, on the other hand, is a sympathetic character who has her own hopes and dreams, and who also has a strong sense of responsibility towards her family. The dynamic between them, to me, feels like the centre of the play.
Hence, beneath the comedy, the production touches on themes of parental sacrifice, belonging, and reconciliation that many people can resonate with.
Choi comments: “My family arrived in Canada in 1975 in search of freedom, with just two hundred dollars, three kids, and a lot of hope. My father worked at my uncle’s convenience store by day and went to English-speaking language classes by night while my mother took care of me and my two older sisters.
“This story is my love letter to my parents and to all first-generation immigrants who have made the country they have settled in their home.”
Before Kim’s Convenience was aired on TV, it was a stage play that first performed in the 2011 Toronto Fringe Festival and has thus been acclaimed for its East Asian representation.
This time, Kim’s Convenience is presented on stage for the first time to audiences outside of the US and Canada, at Park Theatre in London. The production runs until 10 February 2024.
Director Esther Jun says: “I have been involved with Kim’s Convenience in some shape or form for nearly 20 years and to finally bring it to London, where I learned my craft as a director is extra meaningful. There is so much love and history in this story.
“The simple genius of this play is how it continues to resonate for different cultures and ages at different times in people’s lives. It’s a true generational play with so much heart, truth, and laughter. It’s a gift that keeps on giving.”
On playing the title character, Choi adds, “I’m very much looking forward to returning to where it all began 12 years ago. It’s a wonderful journey and it feels great to have finally grown into this role. This play launched my career and continues to provide a great vehicle for Asian actors and shines an important light on representation.”
