The Heart Sellers

In This Program

• For Our Patrons
• From the Artistic Director
• About the Show
• Cast
• Creative Team
• Leaning into Hope and Humanity
• Changing Laws and Hearts: The Legislation Behind The Heart Sellers
• On Stage This Spring
• Print Edition
• More About Seattle Rep

Dear Friends,

Welcome to Seattle Rep’s production of Lloyd Suh’s acclaimed new play, The Heart Sellers. Suh’s funny, timely, and (yes!) heartfelt two-hander has been moving audiences at theaters nationwide with its humor, humanity, and tenderness. For proof, see American Theatre Magazine’s 2025/26 list of the most-produced plays in the country, where The Heart Sellers enjoys the good company of recent Seattle Rep productions Come From Away and last season’s beloved Primary Trust. We’re so glad you’re here to experience our Seattle-made local premiere.

Suh, whose plays The Chinese Lady and The Far Country have cemented his reputation as one of the most vital voices in contemporary American theater, offers here a deceptively simple story. On Thanksgiving night in 1973, two young immigrant women, Luna and Jane, meet by chance. Referring to the Hart–Celler Act of 1965, which transformed American immigration policy and demographics (learn more below), the play explores how sweeping national change moves through private spaces. Over food, curiosity, and the tentative laughter of strangers, two people begin to share hopes, frustrations, and the fragile possibility that friendship may take root.

We are happy to welcome Seattle theater-maker Sunam Ellis to helm this production in her Seattle Rep directorial debut. Ellis, one of Seattle’s leading actors, approaches The Heart Sellers with the exceptional sensitivity of a skilled performer attuned to the play’s quiet turns and the emotional risks of two people finding friendship and commonality.

Her approach to the production has been to center the play’s heart: intimacy and connection. And it’s hard to imagine a better home for this play than the Leo K. Theater. The performance space itself becomes part of the storytelling. You don’t observe from afar; you are close to Luna and Jane as you witness their tentative bond taking shape. In this space, with our phones off, newsfeeds stilled, and a shared point of focus, silence is audible, glances carry meaning, and small gestures can evoke recognition and belonging.

From all of us at Seattle Rep, we are so glad you are here and wish you a joyful start to the New Year. I hope you’ll return soon for one (or all!) of the dynamically different productions we are preparing for you. Up next: The renowned Tectonic Theater Project brings us their profound Here There Are Blueberries, followed by Seattle-made premieres of recent Broadway sensations, Amy Herzog’s cathartic drama Mary Jane and Branden Jacobs-Jenkins’ incendiary comedy Appropriate. I look forward to welcoming you back to the theater!

Until next time,

Dámaso Rodríguez
Artistic Director

ARTISTIC DIRECTOR Dámaso Rodríguez   |   MANAGING DIRECTOR Jeffrey Herrmann

By Lloyd Suh

Directed by Sunam Ellis

The Heart Sellers is presented through special arrangement with
TRW PLAYS 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.trwplays.com
The Heart Sellers was commissioned by Milwaukee Repertory Theater as part of the John (Jack) D. Lewis New Play Development Program
Mark Clements, Artistic Director | Chad Bauman, Executive Director and received its first public performance on February 7, 2023

* Member of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States.

2025/26 Season Sponsor

Leslie Lackey

Producing Partners

Terri Olson Miller & Tom Miller
Nancy Ward & Toby Bright 

Associate Sponsor

The Boeing Company

Institutional Season Sponsor

January 2 – February 1, 2026  |  Leo K. Theater

We welcome you to take pictures of the set before and after the show.

Share Your Photos 

#TheHeartSellersSREP
@seattlerep

Photography, recording, and use of cell phones are strictly prohibited during the performance. 

Mission 

Seattle Rep collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of our region. 

Vision 

Theater at the heart of public life.  

Values 

Artistic Vitality
Sustainability
Generous and Inclusive Practices 

Code of Conduct 

Seattle Rep is committed to being a racially, culturally, and socially just organization. We promote equity, diversity, and inclusion in all aspects of the work we do, and uphold a safe environment wherein all people are welcome to our space and are treated with respect and dignity.

It is our expectation that all patrons and those affiliated with Seattle Rep will align with this code of conduct and we reserve the right to relocate or remove any person from our theater who disregards this expectation.

Land Acknowledgment 

Seattle Rep acknowledges that we are on the traditional land of the Coast Salish people. We honor with gratitude the land itself and its innumerable stewards, past and present. We recognize Washington’s tribal nations, all of the Tribal signatories of the Treaty of Point Elliott, and the urban Native communities who continue to live and thrive in this space. This acknowledgment does not take the place of authentic relationships with Indigenous communities, but serves as a first step in honoring the land we are on and the people and cultures it has nurtured.

Learn more about how Seattle Rep is working to support and build relationships with Native communities.

Emergencies 

In an evacuation, wait for an announcement for further instructions. Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat.   

Accessibility 

Seattle Rep is committed to accessibility for all and will work with patrons to accommodate requests. We offer a variety of options to help make our performances accessible.

ACCESSIBLE PERFORMANCES: We offer select English and Spanish Open Captioned, Audio Described, ASL-Interpreted, Sensory-Friendly, and mask-required  performances. Find dates here or contact the Box Office for more information.

HEARING LOOP: Seattle Rep is equipped with hearing loops that transmit sound directly to t-coil enabled hearing devices. There are also receivers and headphones available to borrow at Coat Check. Look for the Hearing Loop signs which indicate coverage at performances, ticket windows, concierge, and concessions.  

WHEELCHAIR SPACES, WIDER SEATS (BAGLEY), TRANSFER SEATS, AND ADDITIONAL SEATING OPTIONS: Please see an Usher or House Manager to see what accessible seating options are available for your performance.  

SENSORY GUIDES & KITS: Scene-by-scene guides of the sensory impact of this show and kits containing headphones, fidgets, sunglasses, and communication cards are available at Coat Check.  

LARGE PRINT & BRAILLE PROGRAMS: Available at Coat Check. 

ALL GENDER RESTROOMS are located on the second floor of the Leo K. Theater and a single-stall restroom is located near the Bagley Wright Theater restrooms on the first floor.  

WELLNESS ROOM is located near the Bagley Wright Theater restrooms on the first floor.  

Contact Us 

BOX OFFICE 
Call 206.443.2222
Text 206.565.2996 

ADMINISTRATIVE
206.443.2210 

Becca Q. Co

Luna

Becca Q. Co is an actor, voice actor, and singer with a B.F.A. in Drama from NYU Tisch School of the Arts. Theater: Invincible Ones (Signature Theatre Center), Interabang! (Ars Nova), The Serpent (La MaMa). Voiceover: Lot Lot (Disney’s “Primos”), Nemesis (“Hades II”), Rika (“Pokémon Masters EX”). Film/TV: “NCIS,” “City on a Hill,” The Wild, “When We Grow Up.” She played the lead in the film Honeywell, for which she received the Best Actor Award at Red Rose Film Festival. For Lola, Tita Tess, and Grandma, who led the way. Mahal kita Jeej, Rach, fam. Thank you RDR. beccaqco.com, @beccaco

Seoyoung Park

Jane

Seoyoung Park is thrilled to make her Seattle Rep debut. Born and raised in Seoul, Korea, Seoyoung now proudly calls Chicago her second home. Recent credits include Northlight Theatre’s The Heart Sellers (2025 Jeff Award nominee: Performer in a Principal Role); TUTA Theatre’s Attempts on Her Life (2024 Jeff Award Winner: Best Ensemble), Tom & Eliza, and The Long Christmas Dinner. M.F.A. Acting, DePaul University; B.A./M.A. Acting, Chung-Ang University. For mom, dad, and the fam—you are my everything. Love you, my j. Represented by DDO Artists Agency. seoyoungpark.com, @psych0_0p

Lloyd Suh

Playwright

Plays include The Far Country (2023 Pulitzer Prize Finalist), The Heart Sellers, The Chinese Lady, Franklinland, Bina’s Six Apples, American Hwangap. Regional: Atlantic Theater Company, The Public Theater, Alliance Theatre, Huntington Theatre Company, Berkeley Repertory Theatre, Ma-Yi Theatre Company, Ensemble Studio Theatre, among others. International: Cultural Center of the Philippines; PCPA at the Guerilla Theatre, Seoul, Korea. Awards: Steinberg Playwright Award, Horton Foote Prize, Herb Alpert Award in the Arts, Guggenheim Fellowship. Elected to the Dramatists Guild Council in 2016. Professor of the Practice, Princeton University.

Sunam Ellis

Director

Sunam Ellis is a Seattle-based actor, director, and educator. She holds an M.F.A. from the University of Washington’s Professional Actor Training Program. Directing credits include The Wolves (University of Washington), Hookman (Seattle University), Julius Caesar (Seattle Shakespeare Company), and new work with Pratidhwani. As an actor, she has appeared at Seattle Rep, ArtsWest, and Book-It Repertory Theatre. Sunam thanks Woodzick for space to share dreams and Dámaso for creating opportunities. And, of course, Joshua for being her favorite (tamr), and Nolan, Jade, and Moira for cheering her on.

Parmida Ziaei

Scenic Designer

Parmida Ziaei (she/her) is an Iranian multidisciplinary artist, designer, and co-founder of Seda Iranian Theatre Ensemble. As a designer, Parmida has contributed to a diverse range of projects, including interior, architectural, immersive, and entertainment spaces. She has worked as a scenic and production designer for numerous Seattle theaters, such as Union Arts Center, The 5th Avenue Theatre, Village Theatre, Seattle Public Theater, Seattle Children’s Theatre, and more. When not designing, Parmida performs, choreographs, and teaches as a movement artist. parmidaziaei.com, @parmidaziaei

Ty Pyne

Costume Designer

Ty Pyne is a Filipino costume designer and craftsperson in Seattle, WA. He strives to support young BIPOC to see themselves in all aspects of storytelling and works with material that highlights and honors diverse perspectives. They have worked as a costume design and crafts assistant for The 5th Avenue Theatre. As a designer, Ty has had the pleasure of working locally with ACT, Seattle Children’s Theatre, ArtsWest, Seattle Shakespeare Company, Seattle Public Theater, Sound Theater Company, Strawberry Theatre Workshop, and more. B.F.A. Performance Production, Cornish College of the Arts.

L.B. Morse

Lighting Designer

L.B. Morse (he/him) is a designer for the performing and cultural arts, and has designed lighting, scenery, and multimedia for over 25 productions at Seattle Rep. Favorite previous designs include Indecent (2019, scenic), Public Works’ As You Like It (2019, scenic/projections) and The Odyssey (2017, scenic/projections), Constellations (2016, scenic/lighting), Lizard Boy (2015, scenic/projections), and The Hound of the Baskervilles (2013, scenic/lighting/projections). He has designed for many organizations locally and nationally, and is a proud member of the United Scenic Artists, Local 829.

Melanie Chen Cole

Sound Designer

Melanie Chen Cole is a San Diego-based sound designer. Regional: Alabama Shakespeare Festival, Alley Theatre, Alliance Theatre, Cincinnati Playhouse in the Park, Cleveland Play House, Dallas Theater Center, Denver Center, Geffen Playhouse, Goodman Theatre, Huntington Theatre Company, Indiana Repertory Theatre, La Jolla Playhouse, the McCarter, Milwaukee Rep, Northern Stage, The Old Globe, PlayMakers Repertory Company, South Coast Repertory, Studio Theatre, and the Utah Shakespeare Festival. Education: M.F.A. in Theatre and Dance from UC San Diego. melaniesound.com, @melaniechencole

Joy Lanceta Coronel

Dialect Coach

Joy is a coach, writer, and theater artist. New York: What Became of Us, The Great Leap (Atlantic Theater Company); Among the Dead, Once Upon a (Korean) Time (Ma-Yi Theater Company). Regional: Sense & Sensibility (American Players Theatre); King John, Dracula (Actors Theatre of Louisville); A Christmas Carol, Dial M for Murder, Stones in His Pockets (TheatreSquared); The Heart Sellers (Guthrie Theater, Milwaukee Rep, The Huntington Theatre); The Far Country (Berkeley Repertory Theatre). B.F.A. University of Cincinnati-College Conservatory of Music, M.F.A. Central School of Speech and Drama.

Melissa Y. Hamasaki 

Stage Manager

Melissa Y. Hamasaki is pleased to return to Seattle Rep! Favorite credits include The Women, The Ramayana, Assisted Living (ACT); Waitress, Memphis (The 5th Avenue Theatre); Primary Trust (Seattle Rep); Carmen, Tales of Hoffman (Seattle Opera); The Thin Place (Intiman); Of Mice And Men (Arena Stage). She is a Seattle Public Theater Board Member and proud AEA member. Many thanks to the Phinn Support Team. Kim and Linda Vacchiery – thanks for letting me tag along. Training: Allen Lee Hughes Stage Management Fellow, Arena Stage, Washington, D.C.; Technical Apprentice, Santa Fe Opera, NM.

Katja Zarolinski, CSA

Out-of-Town Casting

Katja Zarolinski, CSA is a New York-based casting director handling productions for theater, film, and television. Previous casting work includes Broadway, Off-Broadway, and regional productions at Alley Theatre, Arena Stage, Baltimore Center Stage, Barrington Stage Company, Contemporary American Theater Festival, Guthrie Theater, Irish Repertory Theatre, KCRep, Oregon Shakespeare Festival, People's Light, Pittsburgh CLO, PlayMakers Repertory Company, Pittsburgh Public Theater, Repertory Theatre of St. Louis, Signature Theatre, Studio Theatre, Theaterworks Hartford, and many more.

Leaning into Hope and Humanity

Beyond the Stage

An Interview With Director Sunam Ellis

By Nicole Bearden
Seattle Rep Communications Manager

Seattle Rep’s Communications Manager Nicole Bearden spoke with beloved local artist and The Heart Sellers director Sunam Ellis about the show, her personal connections to the story, and more 

Nicole Bearden: What first drew you to this play? What made this an exciting choice for you in particular to direct?

Sunam Ellis: My father was stationed in Korea when he met my mother. When they moved to the United States in the 1970s (made possible by the Hart–Celler Act), my mother had to hide or shut down parts of her identity just to make life more comfortable for those around her. My mom is a free spirit. She was pretty young when she came to the U.S., and in many ways grew into an adult in a place that was unfamiliar to her. I wish she had a Luna or a Jane: someone in her life who understood what it was like to leave her country while still figuring out who she was. And even though I’ve been here since I was a toddler, as a Korean-American I still feel like I’m finding my own way, pulled between two cultures. I think that tug-of-war is beautifully explored in this play. 

Also, I love Luna and Jane deeply. They are wise and innocent. They are brave and vulnerable. They are silly, open, and curious. I want to be their friend. I want to be a friend like them. They give me hope.

NB: Many in our audience today have seen you perform on stages around Seattle. How does your acting background inform your directing?

SE: The greatest way my acting background informs my directing is my desire to create the space for actors to be in their own process. And I think my acting background opens up different possibilities for communication, because I recognize there are some approaches that just aren’t helpful. It encourages me to be mindful that there are different paths people take in their own creativity. Building this show, I get to play with creative minds who are at the top of their game. So I want to honor what they are bringing, and be respectful of whatever tools they have.

As an actor, I sometimes feel like my only option is to interpret the language of the director the best I can and then adjust my work to their style. But as a director, I recognize I brought these creative artists into this project because of their unique voices. I don’t want anybody to adjust to me. If someone’s process isn’t clear to me, I want to treat it as an invitation to be curious. To use language and prompts that are helpful, constructive, and clear. I want to amplify the voices of these artists and see how they sing together.

NB: How do you see the themes in this show resonating with audiences today?

SE: Immigration is a highly contentious topic right now, so I can see how that might make an audience approach the play with caution. However, this show is all about shedding light on the humanity of two young women who are both grateful for the opportunities afforded them by moving to the U.S. and aware of their status as outsiders. That is a lonely crossroads to be at, and my hope is that the audience can lean into the humanity of what these young women are facing.

I think most of us can remember moments in our lives when we didn’t quite feel at home. Being in a space like that can surface a lot of feelings: fear of the unknown, frustration with the situation, mistrust of the new and different, anger at whatever or whoever brought us into that space. In this play, we see two people working through those complicated feelings. They take a risk, they hope for the best, and take a chance at a possible new friendship. In our current climate it is so easy for me to lean into the negativity. But this play invites me to see a different story, a different way to be in the world—and I’m here for it. 

NB: What do you hope audiences take away from this show?

SE: My greatest hope is that this show sends audiences home with a hefty dose of hope. That it ignites a wonderful spark that keeps flickering. Because that’s something I sense people need right now. There is so much tension these days, and it doesn’t seem to take much for a topic to send people into the “us vs. them" mentality. That frame of mind is a real option for Luna and Jane, but we get to see two young women take a different path. 

This show brings out the beauty that is possible when we approach things with generous curiosity, an openness to new perspectives, and a willingness to be vulnerable. I’m well aware that approach doesn’t always work out, and such things won’t always lead to a story like The Heart Sellers. But I want audiences to lean into the hope, because I like to believe that kinder spaces are possible.  

By Nicole Bearden
Seattle Rep Communications Manager 

In the award-winning play The Heart Sellers, playwright Lloyd Suh uses a landmark of U.S. legislation, The Hart–Celler Act (also known as The 1965 Immigration Act), to set the scene for this heartfelt story of two young immigrant women, newly arrived from Korea (Jane) and the Philippines (Luna).

So, what was this historic Act? Learn the history behind the legislation in the full article on Inside Seattle Rep.

Three Powerhouse Plays. One unforgettable finale to the season. Don’t miss a moment!

We’re closing our 2025/26 Season with drama and catharsis through work from the most acclaimed playwrights and plays of the 21st century.

Experience unforgettable stories that uplift, challenge, and spark conversation—brought to life by extraordinary local and national artists.

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