Musicals of Korea

The Rose of Versailles (베르사유의 장미) is a musical adaptation of Riyoko Ikeda’s iconic manga, set during the years leading up to the French Revolution. The story follows Oscar François de Jarjayes, a woman raised as a man to serve as a royal guard, tasked with protecting Queen Marie Antoinette. Oscar’s inner conflict between loyalty to the monarchy and empathy for the suffering commoners drives the narrative, as she grapples with her duty, ideals, and unspoken love shared with her childhood friend André Grandier.

The musical focuses on Oscar’s journey against the backdrop of rising revolutionary fervor, highlighting key figures such as Bernard Châtelet, the mysterious "Black Knight," and Rosalie Lamorlière, a young woman seeking justice. The Revolution culminates in the storming of the Bastille, with Oscar ultimately siding with the revolutionaries.

Known for its stunning costumes, immersive sets, and evocative score, The Rose of Versailles offers a powerful tale of love, sacrifice, and resilience during a pivotal moment in history.

Hero (영웅) is a Korean original musical that depicts the life and ultimate sacrifice of Ahn Jung-geun, a prominent Korean independence activist who assassinated Ito Hirobumi, the first Japanese Resident-General of Korea, in 1909. Set during the turbulent final years of the Joseon Dynasty under Japanese occupation, the story blends historical events with fictional elements to create a gripping narrative of resistance, sacrifice, and patriotism.

Ahn Jung-geun is a courageous leader driven by his unwavering commitment to Korea’s independence. The musical introduces Seol-hee, a fictional character and spy disguised as a singer, who supports Ahn’s mission while battling her own inner turmoil and tragic past. Other key characters include Ahn’s comrades Woo Deok-soon, Cho Do-sun, and Yoo Dong-ha, who reflect the solidarity of the independence movement, and Hirobumi Ito, who symbolizes the oppressive Japanese colonial regime. The narrative unfolds against a backdrop of covert operations, personal sacrifices, and Ahn’s moral convictions, culminating in his assassination of Ito at Harbin Station and his subsequent trial and execution.

With a powerful score, traditional Korean aesthetics, and grand staging, Hero brings history to life while exploring universal themes of justice, loyalty, and the cost of freedom.

Maybe Happy Ending (어쩌면 해피엔딩) is a Korean musical set in a futuristic version of Seoul, where the daily lives of two abandoned helper robots, Oliver and Claire, unfold. These robots, designed to look human and assist their owners, have been left behind and now live in a space reserved for outdated helper bots. Like forgotten gadgets tucked away in a drawer, they quietly pass their days in obscurity.

Oliver is an older Helperbot-5 model, rugged and reliable but without the advanced features of newer versions. He spends his time nurturing plants and listening to vintage jazz records. Claire, a more sophisticated Helperbot-6, has an elegant design and numerous capabilities but struggles with frequent malfunctions and rapid battery depletion. Despite their differences, the two robots form a bond, exploring emotions and connections that seem almost human.

Set against a speculative backdrop in the 2060s, the story reflects a world where humans have grown increasingly isolated, relying heavily on technology while neglecting personal connections. In contrast, these early-generation robots begin to uncover the value of love, intimacy, and companionship—qualities their creators may have forgotten.

The Korean production pairs its futuristic narrative with the nostalgic tones of acoustic jazz and classical music, creating a unique harmony between modern themes and analog warmth. Through thoughtful direction and compelling performances, the show delves into themes of connection and humanity, prompting audiences to reflect on relationships in an increasingly digital age.

In 2024, Maybe Happy Ending premiered on Broadway, marking its international debut. The production preserved the heart of the original while adding nuances for a global audience. Its blend of emotional depth, innovative stage design, and soulful melodies resonated strongly with viewers, cementing its place as a remarkable example of Korean musical storytelling on the world stage.

Mata Hari (마타하리) is a Korean original musical first presented by EMK Musical Company, set 37 years after the death of Mata Hari. The story begins at the "Paris Museum of Anatomy," where her head was to be publicly displayed but mysteriously vanishes, leaving an old man to recount her life. The narrative delves into her journey, exploring the questions: Who was she, and why was she destined to unrest even after death?

Set during the Belle Époque, the vibrant and affluent era in Paris, the story introduces Margaretha, a destitute woman found by Anna, who takes her in and learns of her tragic past. Drawing inspiration from Javanese dances performed by women who gave Margaretha courage, the two reinvent her as "Mata Hari." Through her sacred temple dances, Mata Hari becomes the world’s first renowned strip dancer and rises to international fame.

Her life takes a turn when she meets Armand, a pure-hearted and free-spirited pilot, who brings her true happiness for the first time. However, the outbreak of World War I shakes the Belle Époque era and diminishes her popularity. Caught in the political schemes of Defense Minister Painlevé and the jealousy of Colonel Ladoux of the French intelligence, Mata Hari is falsely branded a "spy," leading to the tragic end of her life.

With lyrics by Jack Murphy and music by Frank Wildhorn, Mata Hari combines historical intrigue, romance, and betrayal, highlighting the rise and fall of a misunderstood icon.

The musical Frankenstein (프랑켄슈타인) begins with Victor Frankenstein in his lab, attempting to bring a humanoid creation to life during a thunderstorm. His groundbreaking experiments aim to conquer death, setting the stage for a story of ambition, tragedy, and the consequences of defying nature.

Set in 1815 during the Napoleonic Wars, the narrative follows Victor and Henri Dupre, a skilled military doctor saved from execution by Victor. Bonded by their shared ideals, the two collaborate on creating life, driven by Victor’s obsession with resurrection and overcoming human mortality. Flashbacks reveal the tragedies of Victor's past, including the loss of his mother and the events that shaped his relentless pursuit of scientific discovery.

As the experiments progress, challenges arise, forcing Victor to make increasingly questionable choices. His growing detachment from his fiancée Julia and tension with the townspeople add layers of conflict. The climax of the story explores the ethical and emotional cost of Victor’s ambition, leading to unexpected consequences.

Frankenstein captivates audiences with its gothic atmosphere, complex characters, and a compelling score, offering a thought-provoking exploration of the boundaries of science and humanity.

Xcalibur (엑스칼리버) is a reimagining of the legendary tale of King Arthur, composed by Frank Wildhorn. The musical explores Arthur's transformation from an ordinary man into a ruler destined to unify ancient Britain during a chaotic era marked by internal conflict and Saxon invasions.

Originally developed as Artus-Excalibur and premiered in 2014 at the Theater St. Gallen in Switzerland, the production was reworked by EMK and debuted in Korea in June 2019. The story combines mythic grandeur with human drama, following Arthur's discovery of his true heritage and rise to power after claiming the legendary sword, Excalibur.

Set against the backdrop of war-torn 6th-century Britain, the musical introduces a cast of iconic characters, including the enigmatic Merlin, the brave Guinevere, and the loyal Lancelot, while exploring themes of destiny, leadership, and sacrifice. With a powerful score and stunning visuals, Xcalibur breathes new life into the timeless Arthurian legend.

The musical Subway Line No. 1 (지하철 1호선) is a Korean adaptation of the German original Linie 1, created by Volker Ludwig in 1986. Volker Ludwig, who visited Korea in May 1995, described the work as a "musical revue," blending revue theater and cabaret styles. Revue theater uses music, dance, mime, and satire to link loosely connected scenes, while cabaret, originating in 1920s Berlin, critiques social and political issues through music and improvisation.

The first Korean performance of Subway Line No. 1 was in 1994, and it was later adapted, directed, and staged by Kim Min-ki at Daehakro's Hakchon Theater from 1991 to 2008. The production became a cultural landmark, surpassing 1,000 performances by 2000. Volker Ludwig and Heye Heiman recognized the creative excellence of Kim’s version and waived royalties from January 1, 2000. The adaptation also received international acclaim, with performances in Germany, China, and Japan.

The Korean version reflects the social realities of 1990s Seoul, following a young woman from Yanbian searching for her lost lover. Along her journey through Seoul, she encounters diverse characters, including street vendors, gangsters, and runaways. With over 80 roles played by a small cast, the production is noted for its satire, humor, and dynamic performances, capturing the struggles and vibrancy of urban life.

The Last Empress (명성황후) is a Korean original musical based on the life of Queen Myeongseong during the Joseon Dynasty. The story begins with Heungseon Daewongun, King Gojong’s father and regent, arranging the marriage of his son to Min Ja-yeong (later Queen Myeongseong). As King Gojong declares his intent to rule independently, the Daewongun is removed from power.

The narrative explores the challenges faced by Gojong and the queen as they attempt to implement modernization policies amid intensifying political factionalism and public unrest. These struggles are compounded by Japanese interference, leading to widespread discontent. The tension culminates in the Imo Incident, a military rebellion by discontented soldiers. Forced into exile, Queen Myeongseong later returns with support from the Qing Dynasty, frustrating Japan’s plans for dominance in Korea.

As Japanese officials view Queen Myeongseong as an obstacle to their ambitions, they devise an assassination plot under the code name "Fox Hunt." The story captures the queen’s efforts to navigate a turbulent era marked by internal strife and foreign intervention, reflecting the complexities of her time.

The musical debuted in 1995 and was praised for its innovative stage design, including a rotating set symbolizing Korea's shifting fate. It became the first Korean musical to be performed on Broadway in 1997 and has since been staged internationally in cities such as Los Angeles, London, and Toronto. Domestically, it surpassed one million cumulative attendees by 2007 and reached 1,000 performances in 2009, solidifying its status as a landmark production in Korean theater.

Finding Mr. Destiny (김종욱 찾기) is a South Korean original musical that premiered in 2006, with lyrics, script, and direction by Jang Yoo-jung and music by Kim Hye-sung. It is recognized as a pioneer of small-theater romantic comedy musicals and holds the distinction of being the first Korean musical to be dramatized into a movie, also directed by Jang Yoo-jung. The production continues its open-ended run in Daehakro, Korea's vibrant theater district.

The story follows a man who helps others reconnect with their first loves and a woman who seeks his help to find hers, Kim Jong-wook. Their humorous and heartfelt journey delves into themes of love, nostalgia, and self-discovery. A signature feature of the musical is the multi-man character, performed by a single actor who takes on numerous roles, adding energy and comedic flair to the narrative.

With its innovative concept and engaging storytelling, Finding Mr. Destiny has solidified its place as a beloved classic in Korean musical theater.

The Man Who Laughs (웃는 남자) is a Korean original musical based on Victor Hugo’s novel of the same name. The story centers on Gwynplaine, a young man disfigured as a child, his face surgically altered into a permanent smile by comprachicos (child traffickers), under orders from powerful aristocrats. Abandoned soon after, he is discovered and taken in by Ursus, a philosopher and traveling performer who becomes a father figure to him. Together with Dea, a blind girl also rescued by Ursus, they form a makeshift family and earn their living through performances that capitalize on Gwynplaine’s unique appearance.

Throughout the story, Gwynplaine forms a close bond with Dea, a blind girl who values him for his character rather than his appearance. He later discovers that he is the rightful heir to a noble family, leading him to confront the contrast between the privileged world of the aristocracy and the struggles of the lower classes. His newfound status brings him into contact with Josiana, a duchess who expresses a complex mix of fascination and disdain toward him. Meanwhile, Barkilphedro, a court jester, manipulates events for his own benefit, adding further tension to Gwynplaine’s journey.

The musical features a score by Frank Wildhorn and explores themes such as identity, social hierarchy, and morality. Incorporating gothic visual elements and moments of emotional depth, The Man Who Laughs has been recognized for its unique storytelling and its contribution to the landscape of Korean musical theater.