Those trends led to a historic turning point in 2024, particularly in global business. The first Korean musical exported abroad was “Love in the Rain,” staged in Japan in 2008. Other exports included “Finding Mr. Destiny” (China, 2013) and “Fan Letter” (Taiwan, 2018). Although political disputes once hampered efforts to expand into East Asia, today progress is being made in both IP exports and cultural exchange.
One noteworthy trend is Korean musicals’ growing presence in the Anglo-American market. In fact, that is the culmination of efforts that trace back to the 1980s. “Tale of a Nobleman” was performed in five cities in the western United States in 1987, while “The Last Empress” was repeatedly shown overseas in New York (1997), Los Angeles (1998), London (2002) and Toronto (2004). But strictly speaking, overseas performances in that era did not represent expansion into the overseas market. Those shows were either part of state-organized events or were aimed at raising awareness on Broadway and the West End. However, the Korean musicals that reached the Anglo-American market in 2024 are the product of a more business-minded reading of local audiences’ tastes and desires. “The Great Gatsby” was brought to Broadway by OD Company head Shin Chunsoo as sole producer, “Marie Curie” (by LIVE Corp.) was staged from June to late July at Charing Cross Theatre, and “Maybe Happy Ending” by Will Aronson and Hue Park began performances at the Belasco Theatre on Broadway in October.
The tremendous potential that Korean musicals are demonstrating on the international stage can be explained in three ways. First, the Korean musical industry has consistently attempted to extend beyond Korea’s local market. After the Korean musical market gained a devoted following among women in their 20s and 30s, the industry constantly sought to expand overseas while maintaining the support of local fans. “Universality” was a critical element in making that a reality. Some of the signature characteristics of Korean musicals today are themes of human love, desire and agency and numbers with dramatic and dark melodies. Those characteristics are particularly sought after in Japan, as illustrated by “Frankenstein” (2017), which was co-produced by Toho and Horipro, and “Mata Hari” at the Moulin Rouge (2018), which was put on by the Umeda Arts Theater. “The Great Gatsby,” which is taking Broadway by storm, can be explained in a similar context. The show’s universal appeal derives from its bright and lively style, which is tailored to Broadway watchers’ interest in humor and humanism. Simultaneously, it neatly synthesizes the source novel’s musings on the American dream in the form of Jay Gatsby’s love for Daisy Buchanan.