Original productions take center stage in global expansion of Korean musicals

Audio report: written by reporters, read by AI

In an industry ruled by towering blockbusters that won't age out, a new generation of Korean musicals is refusing to play it safe.

With quirky charm, bold subject matter and an eye on the global stage, these original works are shaking up the landscape and aren't waiting decades to make their mark. 

Leading the charge is "Shadow," a rock musical crackling with dark energy, opening on Sept. 5 at Baekam Art Hall in Samseong-dong, Gangnam District in southern Seoul. "Shadow" reimagines the tragic clash between King Yeongjo and his son, Crown Prince Sado, from Korea’s Joseon Dynasty (1392–1910). What began as an experimental showcase in March, complete with an unconventional standing concert format, has now evolved into a full-scale two-hander production running through Oct. 26. 

"The Creature," another two-hander that premiered on June 16 at Jayu Theater in Daehangno, Jongno District in central Seoul, takes audiences even further afield: to the Arctic, where Victor Frankenstein and his monstrous creation meet again. Inspired by the ending of Mary Shelley’s classic, it runs through Aug. 31, offering an intimate, genre-bending exploration of guilt, longing and responsibility.

Not all of the new productions are drawn from Western literature or the history of Korean royals. 

"Eunkyung" (translated), which just wrapped up its Seoul premiere and is heading to Daegu this weekend, draws from Eunkyung’s Diary, sometimes called North Korea’s Diary of Anne Frank. The musical offers a rare, unsettling glimpse into daily life in the isolated state through the eyes of a 17-year-old. 

There’s lightness, too. NHN Link, the production company behind the Tony Award-winner "Maybe Happy Ending," is squarely targeting families with the musical, "Battery Daddy," inspired by the children’s book and animation by Jeon Seung-bae and Kang In-sook. Running through Aug. 24 at Ewha Womans University’s Yongsan Theater, it tells a touching tale of family and connection through the eyes of batteries pulled from toys and remote controls.

Beyond the stage, efforts are being made to ensure that these musicals don't fade from public memory. The documentary-inspired "Wildly Fun Ladies" (translated), about a poetry club of elderly women, will screen at CGV theaters starting July 23, following the path of "Rappaccini’s Garden," which finished its CGV run on July 16. These transitions from stage to screen are funded by ARKO LIVE, a push by the Korea Arts Council and CGV to give original performing arts content a fighting chance. 

“The challenge is getting attention from the start,” said Won Jong-won, performing arts professor at Soonchunhyang University. “From showcases to scaled-up adaptations, tailored support is key to getting quality work in front of audiences.” 

But the ambition doesn’t stop at home. 

Korean producers are eyeing the global market, betting that original stories can succeed abroad. The production company, Time, is crafting "Anne Boleyn" for a West End debut in London next year, with a local presentation this November and trial runs in 2026 before a full premiere that winter. Korea will get its own run in 2027. The distribution model echoes that of "The Great Gatsby," which premiered abroad before going home.

Meanwhile, entertainment giant CJ ENM is jumping into the original musical game with an adaptation of the hit film "Dancing Queen," which will show in Korea in 2027 before setting its sights on international audiences. 

“'Dancing Queen' will mark the beginning of our full-fledged entry into the global musical market,” said Ye Joo-yeol, head of CJ ENM’s performing arts division. “We will continue to develop original works leveraging CJ ENM’s wide range of IP to compete both locally and globally.”

Translated from the JoongAng Ilbo using generative AI and edited by Korea JoongAng Daily staff.

BY HA NAM-HYUN [lim.jeongwon@joongang.co.kr]