A beloved comedy transforms into a timely portrait of human resilience, identity, and the quiet endurance of the American and Canadian dream during a politically charged era.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 03-26-2026
Kim’s Convenience arrives at the Ahmanson Theatre as exactly what audiences expect—and then becomes something far more urgent. As presented by the Center Theatre Group, Soulpepper Theatre Company & Adam Blanshay Productions, in association with American Conservatory Theater, the beloved play reveals itself as a quietly powerful statement of resilience and belief in the immigrant dream under pressure.
This award-winning comedy-drama, which inspired the Netflix series of the same name, starts as a surprisingly funny depiction of a Korean family running a neighborhood convenience store. Ins Choi crafts a script packed with character-driven humor and intergenerational tension, anchored by the stubborn warmth of Mr. Kim. As Appa (Mr. Kim), Ins Choi is the heart and soul of the production, with his goal to create lasting meaning in life clearly at the forefront. On opening night, the audience responded exactly as intended, with laughter that was immediate and shared by all.
Yet what elevates this production is how seamlessly it deepens into something more profound.
Much of that emotional depth comes from Kelly Seo’s sharp performance as Janet and Brandon McKnight’s portrayal of Alex. Their developing connection is handled with impressive subtlety—never forced, always authentic. What starts as a guarded interaction slowly becomes more vulnerable, showing how easily barriers rooted in assumptions and cultural differences can break down. In their scenes together, the play finds its emotional core: the idea that empathy can overcome prejudice without resorting to sentimentality.
This tonal balance is expertly guided by director Weyni Mengesha. The pacing is excellent —never dwelling too long in comedy, nor rushing past the quieter, more reflective moments. Mengesha recognizes that the strength of the piece lies in its shifts, allowing humor and gravity to coexist without diminishing each other.
Visually, the world of the play is anchored by Joanna Yu’s richly detailed work. The convenience store feels real and lived-in, not as a theatrical stunt but as a functional space shaped by years of effort and care. It becomes more than just a backdrop; it’s a storehouse of memory, sacrifice, and resilience.
And that resilience feels different in 2026.
Although set in Toronto, the story clearly resonates in the United States, where immigration remains a contentious and often politicized subject. Against the backdrop of increasingly charged political rhetoric and immigration enforcement in the United States, the play’s quiet emphasis on dignity feels like a subtle act of defiance.
What starts as a feel-good comedy eventually turns into a reflection on the fragility—and necessity—of the immigrant dream. At the Ahmanson, Kim’s Convenience doesn’t just entertain; it connects, challenges, and ultimately endures.
