[The Editors' Verdict] "200,000 Won for a Musical: Who Does Culture Belong To?"

Culture Should Be a Public Good for All
The Performing Arts Must Break Free from the "Luxury Culture" Paradigm
Fundamental Solutions Needed, Including Diverse Pricing Policies

Kwangho Lee, Head of Culture and Sports Team.

This summer, two major musicals are set to make a significant impact on the performing arts scene. "Wicked" and "The Great Gatsby" have set their VIP seat prices at 190,000 won, effectively ushering in the era of "200,000 won tickets." Beyond a simple price increase, the phenomenon of rapidly rising ticket prices?referred to as "ticketflation" (Ticket + Inflation)?lays bare the structural problems within the performing arts industry.

In recent years, ticket prices for large-scale musicals have steadily increased. "West Side Story" surpassed 150,000 won, while "The Phantom of the Opera" and "Aladdin" soared to 190,000 won. High-priced tickets are now the norm, not the exception. Production teams cite external factors such as higher actor fees, stage production costs, overseas licensing fees, and rising exchange rates as the main reasons. However, the root of the problem runs much deeper.

Above all, the widespread practice of indiscriminately raising ticket prices under the pretext of increased production costs raises concerns about a lack of consideration for audiences. Culture should be a public good accessible to everyone. Yet, the current structure has turned performances into luxury items enjoyed only by a high-income few. If citizens worn down by economic downturn and rising prices are forced to give up cultural activities, this is not merely a price issue?it is a crisis of cultural accessibility.

An even bigger issue is the "game of nerves" that has spread throughout the industry. Rumors that ticket prices have been deliberately kept just below 200,000 won amount to near price collusion, undermining the fairness of the performing arts market. Beneath the surface of flashy marketing lies a system that only increases the burden on audiences.

The structural difficulty of running long-term performances further fuels this vicious cycle. Most musicals in Korea close after just two to three months, making "open run" (long-term performances) virtually impossible. Because production costs must be recouped in a short period, ticket prices inevitably rise. Structural limitations such as a shortage of venues, unreasonable rental systems, and insufficient institutional support remain unresolved.

This irony is also evident in the statistics. The rate of increase in ticket prices for performances is lower than the overall consumer price inflation rate. On the surface, this could be interpreted as "prices haven’t risen as much as inflation." In reality, however, it reflects either that price increases have already reached their limit or that producers, fearing audience attrition, have resorted to "restrained increases." Ultimately, the performing arts industry faces the dilemma of unavoidable price hikes alongside declining audience numbers.

It is time for the industry to break free from the "luxury culture" paradigm. While large-scale productions and cutting-edge technology are important, if they only serve to raise barriers for audiences, they threaten the very sustainability of the performing arts sector. Culture should be enjoyed widely, and without broadening the audience base, there is no future for the performing arts market.

Fundamental measures are urgently needed, including expanding performance venues, allowing more flexible performance periods, and introducing diverse pricing policies. The government and local authorities must actively support the development of performance infrastructure and production, while the industry needs to consider ways to move forward together with audiences. A luxury performance ignored by audiences is no longer a luxury. Now is the critical turning point for the performing arts industry to escape the swamp of ticketflation and be reborn as true popular culture.