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A haunting one-woman show that portrays the horrors experienced by “comfort women” before and during the Second World War. Summary
Rating
Unmissable!
Minjeong Kim‘s playwriting debut, The Comfort Woman, directed by Kate Elliott, is a gut-wrenching exploration of one of history’s darkest atrocities – the sexual enslavement of women by the Imperial Japanese Army during World War II.
The story follows Minja, a plucky preteen Korean girl, through the idyllic days of her childhood – sipping fizzy rice wine, skipping rocks with her best friend and waiting for her crush to walk her home after he finishes school, despite knowing her mother will scold her for being late.
One fateful day a family friend, Uncle Han, approaches Minja with a stranger, offering a substantial sum for her to distribute leaflets advertising food and accommodation for women’s factory work in Japan. Driven by the prospect of easing her parents’ burdens, Minja accepts, only to find herself trafficked to a “comfort station” to be systematically raped by Japanese soldiers.
The play pulls no punches in depicting the harrowing experiences of these “comfort women.” It portrays dehumanizing medical exams, the forced assignment of Japanese names, the traumatic loss of virginity, tens of men abusing Minja daily, and her eventual suicide attempt. Even after liberation their suffering is compounded, as proof is systematically destroyed to prevent justice. Minja’s homecoming is far from a happy ending: she learns that her father recently died, that her lover died conscripted as a School Soldier years prior, and she never sees her best friend again.
The delivery is breathtaking. At times, I found myself closing my eyes, and the sounds alone were enough to make a pit grow in my chest. It is easy to forget that it’s a one-woman show, with the actor/writer Minjeong Kim seamlessly transitioning between a scolding mother, a boisterous lover, an amusing elder and a chilling camp administrator who kills without blinking.
The minimalist set of a lone stepladder allows the raw emotional intensity to take centre stage. It’s a versatile set piece, representing everything from the Minja’s childhood swing to a guard tower. Minja’s simple white robe evokes innocence amidst unspeakable horrors, the flowing fabric moving with her as she transforms into different characters. The costume design’s restraint prevents any distraction from the performer’s physicality and expressions.
The sound design, though understated, amplifies the visceral impact through sparse but impactful effects, as when the echoing gunshot after a pregnant woman’s failed escape attempt sends chills down the spine. The lighting complements the stark set, while spotlighting the performer’s face at key emotional beats.
There is no positive spin, no toxic positivity to be found. Love does not triumph, justice remains elusive, and the Japanese government has yet to issue a formal apology. Of the roughly 200,000 women who suffered, mostly Korean but also from other Asian countries, an estimated eight remain alive. Many found themselves ostracized by society and even their own families.
As tensions escalate globally and jingoistic rhetoric spreads, The Comfort Woman serves as a sobering reminder of the true cost of dehumanization – the death of innocence, love, family, and everything we hold dear.
Written and acted by: Minjeong Kim
Directed by: Kate Elliott
Theatre technician: Valentin Burkwell
The Comfort Woman has completed its current run.
