Stage: Kim’s Convenience

kimsconvenience

Set in a family-run Regent Park variety store, Kim’s Convenience tells the story of the Korean-Canadian Kim family as they navigate the complicated relationships they have with one another, and make choices about their future that will have lasting consequences.

Kim’s Convenience has a long history on the Canadian stage, winning the New Play Contest at the Toronto Fringe Festival in 2011, being mounted at Soulpepper, and touring across the country, but this was the first time I’d seen the show. I’m delighted to say that Kim’s Convenience lived up to the hype. The play is hilarious, heartfelt, and moving, resulting in a standing ovation at the performance I attended.

Paul Sun-Hyung Lee is a standout in a universally strong cast, as he depicts Appa’s struggle with the knowledge that neither of his children want to take over the store when he retires. When he receives a fair offer from a real estate agent to sell the store as the neighbourhood gentrifies, Lee’s nuanced performance balances the choice between leaving the store, which Appa considers to be his story, to his children, and retirement.

What truly makes the play are the relationships it depicts, each with a different but equally compelling dynamic. Jean Yoon is subtle but effective as Umma, the steadfast wife who also maintains surreptitious contact with estranged son Jung (Richard Lee) through church. Their brief a capella duet makes for a touching moment in the show, as does the reveal that she is a grandmother for the first-time. Jung is a relatable character, having had an epiphany in his early thirties that he feels left behind by his friends and is unhappy with the form his life has taken. The relationship between Jung and Appa is fraught and largely unseen but certainly alluded to until a climactic scene in the second act, while the nervous but earnest connection between Janet (an excellent Rosie Simon) and police officer Alex (Ronnie Rowe Jr.), a childhood crush, as they fall for one another adds a lighter note.

It was Janet’s relationship with her father that resonated the most with me though. Appa wants Janet to take over the store after he retires, but thirty-year-old photographer Janet has dreams of her own. Although there is obviously love between them, both Janet and Appa feel unappreciated and that tension comes to a head in an argument about taking out the garbage. The audience can see both sides of the argument and I think it’s a very realistic disagreement as both parents and their children feel frustration when they perceive themselves to be undervalued by family.

Of course, I’d be remiss if I didn’t mention that Kim’s Convenience is as funny as it is touching. Although far from politically correct, I laughed at Appa’s detailed racial profiling of customers most likely to be thieves in “steal or no steal”, and at the opening jokes about boycotting Japanese products.

The play features realistic, flawed, and fully formed characters, and is a loving portrait of the City of Toronto and its diversity.

I’ve since finished watching the first season of the CBC television sitcom of the same name, and while I mostly enjoyed the TV show (it takes a few episodes to get into and the pilot was perhaps not the best choice for an opening episode), I do feel like the longer format means that it suffers somewhat in comparison. The compact self-contained nature of the play makes for jokes that land each time and for emotional resolution that is incredibly effective.

Kim’s Convenience plays until March 4, 2017, at Soulpepper Theatre.
You can also catch the play in July 2017, at the Pershing Square Signature Center in New York City.

Photo of Paul Sun-Hyung Lee by Cylla von Tiedemann

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