Making its West Coast premiere Friday, the story contrasts immigrant identity in the West with fading traditional culture.
, or “sea women,” who despite their advanced age continue to practice the dying tradition of free diving into the ocean to harvest seafood. As the play’s title suggests, their lives and practices on a remote Korean island as marine “dinosaurs” head inevitably for erasure and extinction and are highlighted and sharpened by the parallel and contrasting story of 20-something Ha Young, a Manhattan-based Korean-Canadian playwright.
Domanico-Huh says that due to immigration laws, only one family member was allowed to move to the United States every two years, so her maternal family moving to America took nearly 10 years. Her paternal family remains mostly in Korea. She experiences imposter syndrome , much like the character she plays and says, “It’s being a ‘third-culture’ Korean immigrant: I feel I’m not totally accepted in Korea and I’m not totally accepted in America.
Captivated by theater during elementary school while playing the role of a a boy who wants a doll, she appeared onstage in plays throughout her academic years. Acknowledging the overlap between scientific and artistic approaches to communication found in her two chosen professions, she says, “Theater feels necessary. It’s the expression of the human condition and to be able to investigate and then portray that within my physical instrument, it just feels alive.
Pauli Amornkul, from left, Keiko Shimosato Carreiro and Mia Tagano star as three Korean haenyeo, or “sea women,” in the Oakland Theater Project’s premiere of “Endlings” by Celine Song.
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