You leave the theatre feeling like you’ve just spent an hour inside someone’s real life, not just a sitcom set. That’s no small feat.
This week at the Oxford Playhouse has seen the warmth and wit of Kim’s Convenience, a play that’s been charming audiences from Toronto to TV screens and is now making its UK tour debut. Written by Ins Choi and directed by Esther Jun, the production is centred around Appa Kim’s small Toronto corner shop—and the family tensions, generational divides, and immigrant experiences that simmer behind the fluorescent lights.
The set was very cleverly used throughout. Mona Camille’s design was impressively detailed—a fully kitted-out convenience store, from stacks of ramen to the ding-dongs that reminded me of entering a konbini in Japan (although don’t let Mr Kim hear me say that). It created a genuine sense of place that the actors moved through naturally, adding texture and realism without ever pulling focus from the performances.
Despite a relatively small cast, each actor brought a lot of personality to their roles. James Yi was instantly lovable as Appa, balancing blustering dad energy with real emotional depth. Daniel Phung’s Jung and Candace Leung’s Umma shared some of the more emotionally resonant moments. Caroline Donica played the exasperated daughter Janet with a convincing blend of frustration, tenderness, and comic timing, grounding the family with a sense of reality and heart. Andrew Gichigi also stood out, deftly juggling four different roles—Alex, Rich, Mr Lee, and Mike—each with distinct personality and delivery. His ability to switch gears so seamlessly added sharp comic value and kept the pace fresh.
There were times when characters switched into Korean for conversations and became a little difficult to follow. This was then not helped by the lack of microphones which in theory helps keep the performance natural and grounded, but in practice meant that some lines—especially in quieter scenes like the church—were lost if you weren’t sitting near the front. A few key exchanges between characters were barely audible, which felt like a missed opportunity to connect more deeply with the material. That being said, even without understanding every word, the emotional gist always landed, giving the audience a more intimate glimpse into the family’s dynamic.
Still, these issues were minor compared to the overall strength of the performances. The cast clicked together with easy chemistry, and the dialogue, even when lost in moments, was full of warmth and razor-sharp timing.
The show doesn’t overreach—it’s simple, sweet, and often quietly moving. It’s a comfort watch, but not a shallow one. You leave the theatre feeling like you’ve just spent an hour inside someone’s real life, not just a sitcom set. That’s no small feat.
