Cara Hinh

IRT: Laughs and love with immigrant family in ‘Kim’s Convenience’

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By John Lyle Belden

If the title “Kim’s Convenience” sounds familiar, the play by Ins Choi now presented by Indiana Repertory Theatre is the hit show that inspired the Canadian television sitcom of the same name. If it doesn’t, well, you are still in for a treat.

The action centers on an independent convenience store in the Regent Park neighborhood of Toronto, owned and run by Korean immigrant Mr. Kim (Tony K. Nam), known familiarly as Appa. His wife is known as Umma (Tuyèt Thi Pham). Their daughter Janet (Jenny S. Lee) is 30, single, and a photographer with occasional clients. Their 32-year-old son Jung (Jae Woo), they don’t talk about.

Austin Michael Young plays all other roles including customers; Mr. Lee (“the Black man with the Asian name”), who arrives with a tempting offer; and Alex, a local police officer who knew Jung and Janet in high school.

After more than three decades in North America, Appa still has issues with English and making himself understood. This naturally leads to much of the comedy, scripted by Choi from his experience as a Korean-Canadian to sound natural, the way hilarious linguistic confusion happens in real life. Add in Appa’s eccentricities, such as his use of Korean martial arts and his obsession with Korean history (feeding a hatred of Japan), and I have rarely laughed so hard at a show as I have with this.

The comic moments blend seamlessly with some deep family drama. “This store is my story,” Appa says, as he seriously considers its next chapter. His options are basically taking Mr. Lee’s generous payout and retiring, which he doesn’t feel good about, or giving Kim’s Convenience to Janet, who does not want it. Meanwhile, Umma makes contact with her estranged son, who is unhappy with his current life despite recently becoming a father himself.

Appa’s attempts to get Janet more involved with the store intensify both the comic and dramatic atmosphere, with aspects of racial and social profiling in his game of “Steal or No Steal.”

A helpful note: When Appa and Umma speak to each other in Korean, the English translations are projected on the backstage wall.

Direction is by associate artistic director cara hinh, who considers herself “such a Janet.” Scenic design – a perfectly organized and stocked c-store floor and counter – is by Yoon Bae.

Performances have a sense of familiarity among the cast, making their interactions – whether sentimental or tense – sparkle. Nam is relatable as a concerned father, while expressing himself in Appa’s unique way. Pham keeps Umma focused on practical matters, anchored by love and faith. Lee’s Janet is a free spirit, while respectful of her family and culture. Young gives Alex a sense of nervous adventure, hoping to connect with an old friend, but finding connection with his sister. Woo presents Joo as burdened by regret that is aggravated by pride.

Learn the Korean name for ginseng, what happened in 1904, and enjoy the heartwarming experience of “Kim’s Convenience,” through Nov. 15 on the intimate Janet Allen stage at the IRT, 140 W. Washington in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

IRT’s unique and traditional ‘Carol’

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By John Lyle Belden

After a recent performance, the cast of “A Christmas Carol” at the Indiana Repertory Theatre was asked, what percentage of their script was the words of original author Charles Dickens?

While it’s difficult to get a precise number, IRT regular Rob Johansen – who returns to again play Ebenezer Scrooge – is certain it is over 90 percent. The rest came from the hands of past artistic director Tom Haas, he said, “a great writer.” A copy of the Dickens novella, which Haas filled with margin notes and line markings as he adapted it in the 1980s, was recently rediscovered and is on public display at the theatre.

To this process, add director Cara Hinh, who finds a fresh approach with emphasis on scenes that are not always played. I sensed, especially in the first half of the show, a little more humor; however, the spooky and tragic aspects get their moments as well. The familiar story is intact, but note the details. “Know them better,” as it were.

The style of this Indy holiday tradition is the same: A full cast, playing various characters, narrate as they perform their roles, working on a spare stage covered in drifts of “snow” with a few necessary props and setpieces, such as the old metal frame that serves as the office of Scrooge & Marley. Hinh’s staging again makes liberal use of the trap doors, with the elevator-style entrance in the center presenting the Cratchit table. Others are used to great effect, especially in the Ghost of Marley’s visit, and in the final tombstone reveal.

Apparently, according to a post-show discussion, the concept of the production is that an old theatre has lost its roof, leading to the snowy nearly-bare abandoned stage, upon which Spirits of Theatre and/or the Holiday walk the boards to tell once again this Victorian classic. This is reflected in the audience seeing, in shadow, the actual back wall of the old Indiana Theatre, with its nearly forgotten pillars.  

Hernàn Angulo makes a splendid IRT debut as poor Bob Cratchit. We also welcome stage and screen actor Cleo Berry as a Ghost of Christmas Present who is both boisterous and no-nonsense. Natasia Reinhardt returns as Christmas Past, really working the Jack-Frost costume by Linda Pisano. Ryan Artzberger reprises Marley’s Ghost, as well as ol’ Fezziwig. Kenneth La’Ron Hamilton is again Nephew Fred and Young Scrooge – the former irrepressibly cheerful, the latter with his goodwill steadily eroding. Other ensemble members are Jennifer Johansen, Alyssa Naka Silver, Kayla Carter, Kerah Jackson or Vivian Morton as Betsy Cratchit, and Sofia Perlaza or Cate Thomas as Tiny Tim (we saw Jackson and Perlaza).

Whether as a returning tradition or for the first time experiencing this exceptional rendition of a holiday favorite, see Charles Dickens’ “A Christmas Carol” through Dec. 24 at the IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get tickets and info at irtlive.com.

IRT’s ‘Carol’ familiar and fresh

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By John Lyle Belden

On the evening I write this, yesterday I saw a wonderful matinee performance of Charles Dickens’ “A Christmas Carol” at Indiana Repertory Theatre.

Earlier today, during a haircut, I told the barber about yesterday’s show. She fondly remembered seeing it years ago as a little girl. After telling her of all the unique features of the IRT production, she said she would look into seeing it this year with some friends. If you, too, haven’t seen it in a while (or at all) perhaps we can persuade you to consider this Indianapolis holiday tradition as well.

Don’t misunderstand; in being a little different, this play is not a parody, or a twist on the story like the movie, “Scrooged.” The Dickens book was adapted decades ago by past IRT artistic director Tom Haas and has been presented annually since the mid-1990s. Its style allows various actors to slip into alternate roles throughout the narrative, which they tell as well as perform, maintaining both the classic language and a good story flow. Only one actor stays the same throughout – as Ebenezer Scrooge – in the well-practiced grasping hands of Rob Johansen. He has played the old miser for a few years now, since switching with Ryan Artzberger, who mainly portrays Jacob Marley’s ghost (“Marley was dead” is vital to the plot, you know) and poor, good-natured Bob Cratchit.

Our spirited Ghosts of Christmas Past and Present are entertainingly presented by Natasia Reinhardt and Sean Blake, respectively. Kenneth L’Ron Hamilton is impressive as both Nephew Fred and Young Scrooge. Talented tykes Henry Kirk or Juniper O’Meara (depending on performance) touch our hearts as Tiny Tim and Child Scrooge. The ensemble also include Kayla Carter, Weezie Chavers, Jennifer Johansen, Sami Ma, and Belle Renee Moore.

Veteran director Cara Hinh makes her IRT debut helming this production. Little changes in staging are noticeable, including clever use of the trapdoors and elevators. This especially adds to the tension of Marley’s visit. But while there are spooky moments, there is far more good-natured humor running through much of the play. The cast visibly enjoy sharing this story with you.

A continued tip of the Victorian top hat to set designer Russell Metheny, whose contributions and annual tweaks are subtle but interesting on a nearly-bare stage covered to overflowing with drifts of the IRT’s artificial snow.  Kudos also to lighting designers Michael Lincoln, Bentley Heydt and Molly Tiede for their atmospheric contributions. Costumes, including a beautifully fresh look for Christmas Past, are by Linda Pisano.

Unique yet familiar, treat yourself to the tradition of IRT’s “A Christmas Carol,” playing through Christmas Eve on the mainstage at 140 W. Washington St., in the bustling heart of downtown Indianapolis. Info and tickets at irtlive.com.