KIM’S CONVENIENCE at Riverside Studios

★★★

“The performances were a pleasure to watch; each actor showing great nuance and detail in their characterisation”

Ins Choi’s ‘Kim’s Convenience’ returns to London this month at Riverside Studios, with Choi reprising his lead role of Appa. A play that has seen vast success over the years, including a five season television series, following its original performance at Toronto Fringe Festival in 2011. The sitcom feel to the show is strong in this iteration, however, I fear it lets the material itself down.

Appa runs his store ‘Kim’s Convenience’ under seemingly peaceful circumstances, until one day a local corporate businessman offers to buy it – following the announcement of a new Walmart to be built in the area. This man inspires him to come to the decision he wants to retire. The play then follows Appa’s quest to convince one of his unsatisfied children to take over the store.

One of the greatest highlights of this show is the design. Mona Camille provides the audience with an incredibly realistic set of a convenience store – including bright and colourful details of various products on sale including many Korean and Canadian snacks. The lighting (Jonathan Chan) also reflects the just a little bit too bright environment very familiar among retail establishments. The performances were a pleasure to watch; each actor showing great nuance and detail in their characterisation. Miles Mitchell deserves particular praise for his excellence in multi-roling (Rich, Mr Lee, Mike, Alex), with an eclectic mix of accents and personas on display. Choi has a clear and colourful understanding of the character he has written and welcomes the audience beautifully into Appa’s world throughout.

Where the play falls flat is in its lack of character development and the deus ex machina conclusion. The audience is told that Appa’s son Jung (Edward Wu) is basically estranged from the family, except from occasionally seeing his mother Umma (Namju Go) at Church. Their lack of relationship is said to be due to previous abuse. When given this context I was quite shocked, as all previous examples of physical manhandling (arguably assault) are played off as a joke. Suddenly, the show darkened for me at that point. Jung and Appa do rekindle their relationship – yet this is done in the space of about five minutes, and Appa doesn’t really do any work to apologise to, or heal with his son.

Appa also displays a lot of mistreatment towards his underappreciated daughter Janet (Jennifer Kim). This being a combination of patronising her, dismissing her career and her relationship status and throwing props at her. All is resolved, however, when Janet gets a boyfriend! I understand that Appa is meant to be a flawed character and the story isn’t trying to be groundbreaking in it’s dysfunctional family narrative, but it just feels like too many flaws to overlook as just the loving father who we love in spite of everything. Because his love is seemingly dependent on his children submitting to his will. The comedy that comes from this is continuous throughout the show yet I must say not particularly to my taste.

The show ‘Kevin Can F*** Himself’ comes to mind with this play. The classic loveable rogue father leads the plot, yet at the expense of the other characters playing along with his narrative. Overall making the play feel rather dated and out of touch.

KIM’S CONVENIENCE at Riverside Studios

Reviewed on 11th September 2024

by David Robinson

Photography by Danny Kaan

Previously reviewed at this venue:

THE WEYARD SISTERS | ★★ | August 2024

MADWOMEN OF THE WEST | ★★ | August 2024

MOFFIE | ★★★ | June 2024

KING LEAR | ★★★★ | May 2024

THIS IS MEMORIAL DEVICE | ★★★★ | April 2024

ARTIFICIALLY YOURS | ★★★ | April 2024

ALAN TURING – A MUSICAL BIOGRAPHY | ★★ | January 2024

ULSTER AMERICAN | ★★★★★ | December 2023

OTHELLO | ★★★★ | October 2023

FLOWERS FOR MRS HARRIS | ★★★★ | October 2023

RUN TO THE NUNS – THE MUSICAL | ★★★★ | July 2023

THE SUN WILL RISE | ★★★ | July 2023

Kim’s Convenience

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★★★★

“funny and warm, balancing real laughs with touching moments”

This is the U.K. premiere of a beloved Canadian play, originally staged in 2011, which spawned a highly successful five season CBS TV series. The show became an international hit after being broadcast on Netflix.

Ins Choi, who wrote and starred in the original, has returned to the cast, but is now starring as the father of his previous character. There is something moving in the cycles of time that this represents. It is in keeping with the themes of the play, which explores intergenerational relationships, and the very different struggles of first and second generation immigrants.

The play follows Mr Kim (Choi) known as Appa by his family, as he wrestles with plans for the future of his convenience store. For him, his wife (Namju Go), his daughter, struggling photographer Janet (Jennifer Kim) and his estranged son Jung (Brian Law) this place represents far more than just a store – it is a burden, a legacy and a curse.

Choi’s script is funny and warm, balancing real laughs with touching moments that makes the play feel genuine and moving. Esther Jun’s directing is energetic and joyous.

“Ins Choi’s performance is sublime”

There are some moments which are played for laughs in a way which may detract from the deeper emotions. I struggled with some of the comedy violence, especially in light of the discussions throughout the play about Appa’s history of violent temper tantrums. Controversial comedy is at the heart of this play, and some of the shock factor moments still feel as taboo in 2023 as they must have in 2011. Much of this comes through discussions of race, especially when Mr Kim talks about black people. Miles Mitchell, who multi-roles all non-Kim family parts in the play, is black, and Mr Kim interacts with this in a way which is at times hard to watch. Some moments are hilarious, in a cringe comedy way, but some are truly difficult.

Ins Choi’s performance is sublime, he keeps the tragedy of Mr Kim bubbling under the surface, allowing us to forgive his more unpleasant moments. Namju Go is also powerful as Mrs Kim. Her performance is subtle and moving. At some points she and Choi speak in Korean, but the strength of their performances means non-Korean speakers can follow along easily. It adds to the feeling that the audience is peeking into a private moment in the lives of this family. Miles Mitchell is also a particular standout, effortlessly shifting between roles and bringing depth to every minor character.

Mona Camille’s set is built as a convenience store, with actual snacks and packets of cigarettes. It is meticulous and evocative.

Jonathan Chan’s lighting design manages to conjure both the strip store lighting of the corner store, as well as shifting to create memory sequences. It plays both with extreme naturalism and a nod to the opposite, and is beautifully thought through.

This is a play about people who are rarely the stars of plays. It is a small snippet of a very real life. I can see why this play was vital in 2011 and why it has enjoyed such success in Canada. Nearly 15 years on, it does feel less fresh, but the warmth and charm has remained.

KIM’S CONVENIENCE at Riverside Studios

★★★

“The performances were a pleasure to watch; each actor showing great nuance and detail in their characterisation”

KIM’S CONVENIENCE at Riverside Studios

Reviewed on 11th September 2024

by David Robinson

Photography by Danny Kaan

Previously reviewed at this venue:

Kim’s Convenience

Kim’s Convenience

KIM’S CONVENIENCE at the Park Theatre

★★★★

“funny and warm, balancing real laughs with touching moments”

“Ins Choi’s performance is sublime”

KIM’S CONVENIENCE at the Park Theatre

Reviewed on 12th January 2024

by Auriol Reddaway

Photography by Mark Douet

Previously reviewed at this venue:

KIM’S CONVENIENCE

KIM’S CONVENIENCE