Photo: Mark Douet
Writer: Ins Choi
Director: Esther Jun
⭐️⭐️⭐️💫
Ins Choi’s one-act play, Kim’s Convenience, first seem in Toronto in 2011, has already spawned a Netflix series and it now arrives in North London trailed by high expectations. In a narrow sense, this is a routine family comedy centred around a bullying patriarch, but, judged in its wider context, the play can be seen as an affectionate tribute to the positive contribution made by Asian immigrants to Canadian society.
Director Esther Jun’s spirited revival sees the writer himself taking on the role of Mr Kim (known as “Appa”), the owner of a small community store in a rapidly changing area of Toronto. Walmart is threatening to move in and Kim receives an offer to sell up, but he is set on keeping the store in his family and continuing Korean traditions. Choi writes amusingly but powerfully about struggles to preserve heritage and identity in a world of continuous change.
Kim is obsessed with Korean history and harbours long-standing resentments, particularly against the Japanese. He is bombastic and intransigent, prepared even to use violent coercion to get his own way.
This bigoted monster at times looks like a modern-day Alf Garnet and, as it should, the role fits Choi like a glove. It could come as a surprise to some that we are still allowed to laugh at such an outrageous character in these days of political correctness. Yet laugh most of us will.
The family consists of Kim’s wife, Umma (Namju Go), his daughter, Janet (Jennifer Kim) and an estranged son, Jung (Brian Law). Kim is determined that Janet will take over the store, but she refuses, being more interested in pursuing a local policeman, Alex (Miles Mitchell). Set designer Mona Camille makes sure that the shelves are fully stocked and, although the play is far from being a world beater, there is absolutely nothing to dislike in its entire 80-minute running time.
Choi’s comedy sticks to its predictable formula right through, unsubtle and occasionally raucous, but, when the resolution arrives, it is underplayed so delicately that it becomes genuinely touching.
Performance date: 12 January 2024
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