★★★

“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.

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”

“Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.” This line from Shakespeare’s Macbeth captures the fleeting nature of stories. In The Weyard Sisters – The Definitive Sequel to Macbeth, writer/director Helen Alexander attempts to extend the tale, breathing new life into the characters who survived the blood-soaked battlefield of Dunsinane.

Ever wondered what happens next? Alexander offers a glimpse into the aftermath, where power struggles continue and Scottish royal titles remain up for grabs. The focus shifts from the fallen king to the women often side-lined — Lady Macbeth’s resourceful gentlewoman, Agatha (Claire Morrissey), who quickly becomes indispensable to the new ruler, Malcolm (Jonathon Campbell), who remains oddly detached from his role.

At the heart of the story are three women rumoured to be witches—the same ones whose prophecies led to the Macbeths’ tragic actions. Now, they’re front and centre. Portia (Jan Shepherd), the Porter’s daughter, leads the group, supported by Erlynn (Julia Munrow), the housekeeper, and Marlin (Pippa Caddick), the swineherd. Shepherd delivers a lengthy, fourth-wall-breaking comedic monologue that explores their driving purpose, while Caddick’s performance, full of nervous tics and twitches, shines in her interrogation scene. Despite Alexander’s intention to provide a female-centred perspective, the witches, though having some striking moments, feel more symbolic than impactful.

The more engaging parts of the play revolve around the battle-scarred warriors, both physically and emotionally, as they try to find their place in the new order. Bradley Benjamin stands out with a nuanced portrayal of Macduff, capturing the raw anger and emotional vulnerability of a man tormented by the loss of his family.

While billed as darkly funny, the play also incorporates broader humour, particularly through Gordon, Malcolm’s newly appointed and out-of-his-depth servant. Ciaran Corsar’s natural warmth and charm shine as he navigates his new responsibilities with endearing awkwardness.

On the production side, Dana Pinto’s minimalist design, featuring rustic props and white linen sheets to divide the front and backstage, is effective. The lighting design, equally simple, is used to good effect in a flashback sequence, with actors engaging in shadow play to depict past battles. There’s a punk aesthetic to the Celtic costumes, especially for the male characters. The soldiers’ distressed fatigues and kilts contrast with the more refined attire of Malcolm and Macduff, reflecting their higher status. The costumes also subtly explore themes of same-sex relationships, with two guards donning accessories associated with gay iconography, adding an extra layer to the narrative.

Helen Alexander’s ambition to create a definitive sequel to Macbeth is evident, and The Weyard Sisters is intended as the first in a planned trilogy that may eventually address some of the questions it raises. However, the execution in this initial instalment falls short. There’s a lot going on—questions raised but not resolved, themes introduced but not explored, and diversions that lead nowhere. While it’s refreshing to see a play that challenges the audience, this one often feels like it’s trying to do too much without delivering. It helps to brush up on Macbeth, as the play assumes familiarity with the original, and the nods to a broader Shakespearean universe don’t quite compensate for the lack of coherence.

In the end, The Weyard Sisters has its moments and intriguing ideas, but it struggles to find its footing. This ambitious project may have potential, but for now, it feels more like a work in progress than the definitive sequel it aims to be. Much like those fleeting shadows, it won’t linger in the mind.

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

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”

THE WEYARD SISTERS at Riverside Studios

Reviewed on 15th August 2024

by Ellen Cheshire

Photography by Livia Hartmann

Previously reviewed at this venue:

THE WEYARD SISTERS

THE WEYARD SISTERS