FST's 'The Heart Sellers' gives voice to the voiceless

Lloyd Suh’s “The Heart Sellers” is now on stage at Florida Studio Theatre. Set in 1973, this witty, poignant play revolves around Luna and Jane, two recent Asian immigrants navigating the possibilities and pitfalls of American life. The significance of the title? Director Kate Alexander says it’s a clever play on words. The story unfolds in the Nixon administration. A few years earlier, the Hart-Celler Immigration Act of 1965 had repealed quotas restricting Asian immigration. Alexander notes that Suh uses that as a jumping off point to explore the complexities of cultural assimilation, the power of human connection and the search for belonging. In the following conversation, she explains why these issues are still relevant today.

What’s the basic story in this play?

The story revolves around two young women who were part of a wave of Asian immigrants. Michelle Kim plays Jane, whose heritage is Korean. Rona Figueroa plays Luna, the Filipino character. Their husbands are medical residents in a midsized city without many people from their backgrounds. Like so many others, Rona and Jane entered arranged marriages before coming to America. These women now lack agency in an unfamiliar and sometimes unaccepting culture.

How did you find the right actors to bring Jane and Rona to life?

It wasn’t easy. Finding authentic Korean and Filipino actresses was incredibly challenging — it required searches in Atlanta, LA and New York. I’m happy to say we found two incredibly talented actors. Michelle and Rona are perfect fits for their roles.

How would you describe their respective portrayals?

Michelle’s Jane is a woman of few words. She has fewer lines and speaks in short, abrupt sentences due to her character’s limited English.

Ah. So, what’s left is body language and pacing.

Exactly. Michelle conveys profound meaning in small moments — like a simple “hmm” when her character’s watching Julia Child prepare a turkey on TV. It’s Thanksgiving eve, and she wants to do it right — like a good American. The unspoken subtext is Jane’s desire to assimilate. It’s subtle, but Michelle gets it across.

What about Rona’s take on Luna?

Rona’s musicality shines through her performance. Her natural warmth and enthusiasm bring Luna’s vulnerable charms to life — and it instantly connects her to Jane. In terms of acting, that’s great. In terms of storytelling, we had to take it down a notch.

How so?

We had to calibrate her character’s enthusiasm. If Luna and Rona bond too quickly, the play would lose its dramatic tension. So, we explored how the characters found common ground over time. That mirrors the complexities of real friendships. The two women are finding out who they are — and where they come from.

I assume their family history is a big part of that.

Absolutely. It’s deeply woven into the fabric of the story. The playwright draws on the humor and irony of Filipino and Korean traditions. He insists on cultural specificity — and we honor that. Both actresses come from these respective backgrounds. Their authenticity adds layers to the play. Luna performs a brief folk dance. It’s a deeply personal connection to her roots. It’s a wordless communication. There’s so much of that in this play. The spoken lines of dialogue are just the tip of the iceberg. There are so many emotions and thoughts beneath the surface.

Image courtesy of Sorcha Augustine

So, there’s a lot of internal work for the actors. Their spoken words don’t carry all the freight. What they don’t say is equally important.

Definitely. The truth of this play lies in its silences. Those moments are rich with unspoken dreams and fears, required deep examination. For example, when Luna talks about being laughed at, both actresses reflect on their personal experiences without speaking. These pregnant silences highlight their shared and unshared emotions. We really worked to find these layers and make sure they resonated.

Is “The Heart Sellers” a comedy or a drama?

It’s all of the above. It’s funny, charming, and endearing, but also deeply poignant. The humor draws you in to the characters’ inner lives. It’s a story about two people navigating the conflict of assimilation — caught between old and new worlds. They’re alienated — literally!

Is it true that the Suh’s childhood informs the play?

Yes. The playwright’s mother was a Chinese immigrant. She had a very similar experience in the 1970s. For me, the most striking aspect is the attention Suh gives to the silent voices of young women who’d immigrated during this era. That means a lot to me — and I feel privileged to work on this play. My grandparents emigrated from Greece, never learned the English language, and struggled to assimilate. This play brings light to the sacrifices and dreams of immigrant women, who are often overlooked in favor of stories about hardworking men building a better life. The playwright sheds light on the Korean and Filipino immigrant experience — but he also speaks to the human experience. We can all put ourselves in Jane and Luna’s shoes.

Ah. So, the particular is universal. 

Absolutely.

Why is a play about immigrants in 1973 deeply relevant today?

Immigration remains a hot-button issue; we still fear “the other.” Suh’s play fosters empathy without hitting you over the head with a political message. In one poignant scene, Luna relates how she saw some “typical” Americans laughing and playing and how she just wanted to belong. That yearning for inclusion resonates deeply in both characters. After one performance, two audience members remarked that they’d never considered how immigrants felt — only the logistical aspects. The play’s empathy extends to the humanity of any ostracized group.