The quiet power of Lloyd Suh’s play The Heart Sellers was its true beauty but also its X factor. Centered on Luna and Jane, two Asian women who now live in the United States via their husbands they barely see, the two connect and spend Thanksgiving together in 1973 at Luna’s apartment. The pair bond over preparing a frozen turkey, cheap wine and conversation that expresses their joys, pains and frustration with their new country, their new home and the haven of K-Mart.
For some context, the title of the show comes from The Hart-Celler Immigration Act of 1965 which repealed a Congressional quota system that mostly favored Europeans immigrating to America but was deemed inherently racist. The Hart-Celler Act opened the door for those wishing to come to the United States from all over and ultimately changed the demographic of the American population.
The magical part of Suh’s play and Shyama Nithiananda’s direction was the show’s gravitational pull. These two women bond with such innocence but also a marked defiance that they can express only in these confines. Their conversations weren’t necessarily deep, philosophical meditations. Instead, the humor, wit and melancholy came through powerfully with natural chatter and human connection and Nithiananda’s deft handling of the play’s beautifully silent moments. This was all pulled off with alarming ease by Olivia de Guzman and Tara Park who played Luna from the Philippines and Jane from Korea, respectively.
Last Friday’s opening night showcased the actors’ remarkable commitment to their characters. Both delivered naturalistic performances while conveying distinct energies.
de Guzman’s Luna delivered a captivating performance that smartly conveyed Luna’s effusive personality that also delved into deeper emotions, showcasing heartbreak and a profound longing and de Guzman so believably portrayed these facets with aplomb. She also succeeded at big sister vibes to Park’s Jane.
Park, initially portraying Jane with a shy stiffness in Luna’s apartment, skillfully transitioned to a more uninhibited portrayal as Jane came out of her shell. Park’s comedic timing was clever with surprising laughs. Her talent shined through by giving Jane a dynamic personality while still maintaining her stoic demeanor—that is, until the wine took effect on the character. Her authentic chemistry with de Guzman fostered a believable sisterly bond as their roles progressively revealed more about themselves.
The production’s aesthetic and atmosphere effectively supported the narrative. Zhousi He’s scenic design looked appropriate for the 1970s yet possessed a timeless quality that avoided distraction. The numerous moving stage pieces, expertly integrated by the Props Design team of Matti Andrew, Rayven Harris, and Evan Michael Woods, complemented He’s vision. Similarly, Jasmine Woods’ costuming was a natural fit, capturing the era without excessively emphasizing the decade. Aaron Johansen’s lighting highlighted the set’s golden tones, and Josh Nguyen’s sound design provided subtle undertones both giving the show texture.
The impact of The Heart Sellers unfolded gradually, but the immigrant narrative and its struggles resonated more after the performance. The actors’ portrayals were just so magnetic that they fostered empathy for characters who could easily be our own neighbors, colleagues, or friends, finding solace and happiness in their own safe spaces.
The show runs through Aug. 17.
–Rich Lopez