Awkward conversations provoke laughter, wit lightens the poignance and authenticity resonates with all who watch. Two women portray an abundance of emotions with one set, minimal music and no intermission at the Austin Playhouse, making all 81 minutes and 22 seconds enjoyable.
Written by Lloyd Suh and directed by Ben Wolfe, “The Heart Sellers,” running from Oct. 3-19, captures the bittersweet reality of leaving home, a serendipitous friendship and the joy of embracing imagination.
Walking into the intimate 40-seat theater, audience members are transported to a ’70s-inspired apartment, featuring earthy yellows and greens, complemented by accents of orange and warm wood.
The simplicity of the scene enhances the raw dialogue, further engaging the audience. This directs their focus to nuances in the script, analyzing every gesture, from Jane anxiously fidgeting with her wine glass to Luna restlessly pacing the floor.
Set in November 1973, the play takes place eight years after President Lyndon B. Johnson signed the Hart-Celler Act, which opened immigration from Asia, Africa and Latin America. The meet-cute begins when Luna, from the Philippines, impulsively invites Jane, from Korea, to spend Thanksgiving with her after meeting for the first time.
Luna (Alexa Capareda) and Jane (Sarah Chong Dickey) bond as they cook, drink, sing and dance, while their husbands work late. Most importantly, the two friends find comfort in their related struggles, adapting to an unfamiliar place, feeling like they left a piece of themselves behind.
Although awkward at first, as Jane and Luna’s chemistry deepens, charming the audience, laughter fills the room. However, as Luna spirals, talking about her hardships, Jane snaps her out of it with playful teasing, immediately lifting the somber mood. After a couple of glasses of wine, the well-behaved wife, Jane, joins Luna in her ranting and opens up about her frustration at feeling powerless as a woman.
The refreshing performance felt neither exaggerated nor restrained, showcasing authentic comedic timing, alleviating the serious topics without undermining their significance.
Further prattling about their situation, Luna says, “So we’re the lucky ones,” followed by a silence that speaks volumes. Although living the life many dream of, they’ve abandoned everything that defines them.
Under Wolfe’s direction, the play intentionally incorporates moments of stillness, inviting the audience to sit in discomfort and reflect.
Eyes tear up during Luna’s monologue, describing her interpretation of the Hart-Celler Act.
“This heart seller, it’s not somebody who’s going to give you a heart, but we’re the heart sellers, it’s us, it’s our hearts and we sell them away,” Luna said. The moment feels achingly human, giving the audience a new understanding of immigration.
Few truly wish to leave their homeland, as Jane says, “Sometimes America seems like a big adventure, but sometimes it seems like the safe way.”
Lighthearted conversations go beyond the surface, constructing a show that leaves the audience members feeling like they, too, made new friends. Luna and Jane’s connection obscures all cultural differences. Finding each other alleviates their loneliness with a fresh sensation of belonging, pushing the two to embrace their new lives, rather than fearing change.
5 stolen hearts out of 5
