Well-loved play Kim’s Convenience gets a new chance to put Korean Americans front and center | By Travis Balitz (with contributions from Kyle Balitz and Nancie Cha) (Spring 2026)
The lives of people as glimpsed through their interactions in a convenience store is the unlikely backdrop for the powerful play, Kim’s Convenience. The play swept across Canada and the U.S. before getting a new life as a popular TV show that lasted five seasons, and now available on Netflix.
A recent performance of Kim’s Convenience, staged at The Studio Theatre Tierra del Sol (The Villages, Florida,) was an opportunity to revisit this well-loved play that became a classic more than 20 years ago, due to its enduring themes of family, generational differences and bonding, and the immigrant story.
Kim’s Convenience was birthed as a play by Insub “Ins” Choi, who is known mainly for his television acting career and for his television script writing. Born in Korea, Choi grew up in Toronto and still lives there. He was also the scriptwriter for Kim’s Convenience television show that aired on the Canadian Broadcasting Corporation (CBC) network,and eventually picked up by Netflix. As recently as fall 2025, Choi appeared in the role of Appa (Korean for “dad”) in the play version.
The story follows a Korean Canadian family who run a convenience store in Toronto. It captures the humorous and touching rhythms of the Kims’ daily life as they navigate generational clashes, cultural identity, and the immigrant experience. Appa and Umma manage the store, while the adult children, Janet and Jung, forge their own paths. The play blends sharp wit with explorations of reconciliation, pride, and community.
The five principal cast members included Appa (Song Kim), Umma (Saja Choi), Jung (Ian Kim), Janet (Juyeon Song), and Rich / Mr. Lee / Mike / Alex / Others (Prentice Myles). Understudies included) Brian Jose (Appa, Mona Lim (Umma), and Sage Kim (Janet). The production and design team also deserve special recognition for their outstanding work.
From start to finish, the performance was humorous, dramatic, riveting, and deeply relatable. Song Kim, who carried much of the dialogue as Appa, delivered a commanding performance. He said his own father inspired him, and that he has often “skewed” toward older roles.
The story was affecting on a personal level. As our own father approaches the final chapter of his life, the struggles of the father character had special meaning. The themes of generational tension, pride, stubbornness, and unspoken love struck close to home, leaving us reflective and emotional.
Saja Choi delivered a warm, grounded portrayal of Umma. Several lines were in Korean, adding depth and authenticity without detracting from the story. Her performance conveyed the mother’s humor, wisdom, and quiet strength. Choi brought the character to life, making the cultural and emotional layers of Umma accessible to the audience while honoring the Korean heritage at the heart of the play.
Juyeon Song’s portrayal of Janet was equally compelling. She noted that she “found herself very different from her dad” as a character, making her emotional exchanges with Appa vivid. Song said she sought to bring a “breath of fresh air” to the argument scenes, heightening the realism and tension.
Ian Kim, as the son Jung, drew from his personal experience immigrating to the U.S. at age 11. “I felt very close to my Mom,” he said, reflecting on the authenticity and emotional resonance he brought to the role. He also noted that he remembers challenges of adapting to American life that mirror the character Jung’s struggles.
Myles demonstrated versatility in portraying multiple characters with range, discipline, and precision. Myles’ and other actors’ use of a dialect coach enhanced the authenticity of each role.
Understudy Lim said that this production was deeply personal and transformative for her. Humorously noting that she was “the only Korean who didn’t speak Korean,” she embraced the challenge. Lim reflected, “I relate to Janet as an artist and Jung as someone who fell far short of what her parents envisioned for her. I also see Appa and Umma in my own parents.” She added, “I am also a Yale dropout who never finished school and, not only did I not become a doctor, but I ended up finally pursuing acting (for real) in 2023. Art was not a valid career choice for my parents, who understandably — having been war refugees — wanted us to build financially stable lives.” This sentiment was echoed in the play, in how Appa downplayed Janet’s career choice to be a photographer.
Sage Kim, the understudy for Janet, said she was privileged to take on the role in two performances when Song recovered from an injured ankle. Stepping into a principal role on short notice is never easy, and Kim brought her own energy and interpretation while honoring Song’s vision.
Brian Jose also faced a unique challenge as an understudy for Appa. As a Filipino, he was challenged to act and sound like a Korean immigrant, but he learned the Korean dialogue and mastered the accent, even paying attention to cultural nuance. This level of dedication mirrored the broader immigrant experience of having to adapt and immerse oneself in a new culture, which requires learning, flexibility, and respect for heritage.
Lim, Sage Kim and Jose exemplify the vital role understudies play in preserving the integrity and continuity of a production, often collaborating as a team to execute performances under high pressure to help the production succeed.
This production was directed by Yong Suk Yoo, whose thoughtful leadership shaped a performance that was both intimate and culturally grounded.
The director wrote in the program that his intent was not “to replicate the familiar narratives offered by its television adaptation, but to return to and amplify the theatrical and emotional core of Ins Choi’s original play. This work was conceived as a stage exploration of a Korean immigrant family’s life in Toronto — a life shaped by survival, affection, conflict, and transformation within shifting socio-cultural landscapes. “
What holds this story together is not just its cultural specificity, but its emotional truth — something that resonates with anyone who has ever navigated the gaps of generations, languages, or family expectations.
Beyond the performances, the technical production elements significantly elevated the storytelling. The set design was remarkably authentic. The marketplace felt like a functioning neighborhood convenience store, complete with recognizable American brands such as Cheerios, Tide, Gatorade, Listerine, and Kleenex. The set grounded the story in everyday life and strengthened the audience’s connection to the Kim family’s world.
The lighting design was equally effective. During transitions, the stage occasionally went completely dark, creating brief suspense as actors navigated unseen. One particularly symbolic moment featured a spotlight shared between Umma and the son, Jung, visually emphasizing both the emotional distance and enduring bond between them. The final fade-out left the audience in reflective silence, creating a poignant closing image.
The choreography and blocking made full use of the stage and auditorium. Characters entered and exited from unexpected areas, dissolving the traditional boundary between performers and audience, and allowing a more immersive theatrical experience.
Sound design also played a meaningful role. The ambient use of radio provided a culturally grounding element, while Umma’s singing added a subtle, almost dreamlike quality that distinguished certain emotional moments. These artistic choices enhanced the atmosphere without overwhelming the story.
Costuming was thoughtfully curated and never distracting. Prentice’s wide variety of costumes underscored the chameleon nature of his multiple roles; at times, it was difficult to believe the same actor portrayed so many characters. The use of the storefront windows was clever, suggesting a street and parking lot just beyond the stage.
A stage production about the Korean experience is rare, particularly in a predominantly white community like The Villages, Florida. Asian stories — particularly stories about Korean Americans — are still underrepresented in American theatre. Kim’s Convenience also has many universal themes of realities that all immigrants (including adoptees) face, including struggles with cultural identity, racism, and intergenerational conflict.
As Jose noted, “Asian stories can be universal. We’ve been seeing ourselves in white stories for decades relating to situations in their culture, so to have the reverse in this rare opportunity is so important, and even more important that it is a white audience to see themselves reflected on stage.”
Lim also reflected on her personal growth: “The friends I have made on this show, what I’ve learned about being Korean American, the pride and connection I now have, not just to my heritage, but to other Asian artists… All these things are priceless to me beyond measure.”
Ultimately, this production of Kim’s Convenience was more than entertainment. It was a meaningful cultural experience, reminding audiences that while cultures may differ, the themes of family, identity, struggle, forgiveness, and reconciliation are universal.
