[Korean Musical 60th Anniversary ①] Beyond Performing Arts to a Cultural Industry... The Second Act of K-Musicals Begins

The Beginning of Original Musicals: 1966 Adaptation of the Classic "Saljjagi Obseoye"
"No Other Choice" and "The Great Gatsby" Prove Global Competitiveness
Ticket Sales Expected to Surpass 500 Billion Won... Government Budget Increased Eightfold
Musical Industry Promotion Act in Progress: "Must Pass" with Bipartisan Consensus

Korean musicals will celebrate their 60th anniversary next year. Since the curtain first rose on "Saljjagi Obseoye" in 1966, the domestic musical industry has evolved over more than half a century, with ticket sales this year expected to surpass 500 billion won. Following last year's sales of 465.1 billion won, another record-breaking year is anticipated.

Changes beyond mere numbers are taking place both on and off stage. While the market initially relied on licensed performances of foreign works, it is now experiencing a golden age of original musicals. Creators such as Cheonhyu Park are emerging as the driving force of the industry, shifting the focus of musicals from actors to creators.

The worldviews and narratives of productions have become established as intellectual property (IP), serving as engines for industry growth. Korean production teams are also actively expanding overseas. Works such as "No Other Choice," completed by Korean creators, and "The Great Gatsby," produced in collaboration with a Broadway team, are cited as representative examples demonstrating the competitiveness of "K-Musicals." The quality and creativity of Korean performances are increasingly recognized in international markets.

Experts emphasize that Korean musicals must now be systematized as a cultural industry, going beyond the realm of performing arts. Enacting the Musical Promotion Act, expanding regional performance infrastructure, and integrating advanced technologies are considered essential tasks for Korea to become a powerhouse in the performing arts. The 60th anniversary is not just a time to commemorate the past, but an opportunity to design a vision for the next decade.

A Half-Century Journey and Soaring Toward the World

In May of this year, the original Korean musical "No Other Choice" swept major categories at the Tony Awards, North America's most prestigious theater awards, winning six trophies. This achievement, which included Best Musical, Best Book, and Best Score, was a symbolic event that established the global status of Korean musicals. In addition, "The Great Gatsby," with Shin Chunsoo, CEO of OD Company, as the sole lead producer, is on the verge of surpassing 100 million dollars in cumulative ticket sales on Broadway, marking the first time a Korean producer has achieved such commercial success.

The history of Korean musicals dates back to 1966, when the original musical "Saljjagi Obseoye" was staged at the Seoul Civic Center. Adapted from the classic "Baebijangjeon" and featuring singer Patti Kim, the production drew significant attention by attracting 16,000 audience members over seven performances in four days.

In 1980, "Jesus Christ Superstar" was introduced to Korea, opening the door to Broadway-style musicals. In 1983, "Guys and Dolls," staged under an official license, premiered and continued to enjoy steady popularity through annual revivals. The 1990s marked the true beginning of the original musical era. "The Last Empress," which premiered in 1995 as Korea's first large-scale original musical, laid the groundwork for both domestic and overseas expansion. Directed by Yoon Ho-jin to coincide with the 100th anniversary of Empress Myeongseong's assassination, the production surpassed one million cumulative viewers and 1,000 performances, and in 1997, it was staged on Broadway.

In the early 2000s, productions such as "The Phantom of the Opera" (2001) and "Jekyll & Hyde" (2004) achieved box office success, igniting the industry's growth. The success of large-scale licensed musicals spurred investment and production, leading to the opening of Korea's first dedicated musical theater, Charlotte Theater, in 2006. At that time, Samsung Economic Research Institute designated the musical industry as a "new emotional product," predicting rapid growth. Although the global financial crisis in 2008 caused a temporary slowdown, the market rebounded in the 2010s with consecutive hits such as "Mozart!" and "Elisabeth." At the same time, original musicals like "Gwanghwamun Sonata," "Seopyeonje," and "The Man Who Laughs" were actively produced. Since 2012, the export of original musical IPs has accelerated, with about 40 to 50 works entering overseas markets. As K-Culture spreads, Korean original musicals are gaining new competitiveness in the global market.

After a period of stagnation during the COVID-19 pandemic, the domestic musical market is now recovering rapidly. This year, ticket sales are on the verge of reaching the 500 billion won range, and according to the Arts Management Support Center, sales in the third quarter increased by 11.8% compared to the previous year. If this trend continues, Korea is expected to surpass Japan and become the world's third-largest musical market after the United States and the United Kingdom.

Musical 'No Other Choice' writer Cheonhyu Park
[Photo by NHN Link]

Expanded Government Support... Legislative Progress Expected

The government has significantly increased its budget for K-Musical support for next year, from 3.1 billion won this year to 24.1 billion won. Expectations are also rising in the National Assembly for the passage of the "Musical Promotion Act."

The nearly eightfold increase in the K-Musical support budget clearly demonstrates the government's commitment to fostering the musical industry. While the government continues to provide support across the content and performing arts sectors, the K-Musical budget is the only item dedicated exclusively to the musical industry. With global interest in K-Culture spreading and the status of Korean musicals elevated by "No Other Choice" winning the Tony Awards, now is seen as the perfect time to expand investment.

Kim Jinhee, Director of the Performing Arts and Tradition Division at the Ministry of Culture, Sports and Tourism, stated, "While maintaining existing projects such as the K-Musical International Market, discovering and nurturing musical talent, and strengthening the global capabilities of professional producers, we also plan to launch new initiatives such as operating tryout theaters and providing production support." She also emphasized, "We will expand the scope of support for overseas advancement of K-Musicals from the showcase stage to full-length performances."

The National Assembly is also expected to contribute to the spread of the Korean musical wave. The musical industry anticipates that the "Musical Industry Promotion Act," sponsored by Assemblyman Kim Seungsoo of the People Power Party in June last year, will be passed sometime next year. Assemblyman Kim attended the "Musical Forum 2025" hosted by the Korea Musical Association at Hongik University Daehakro Art Center in Jongno-gu, Seoul, on September 2, and said, "The Musical Industry Promotion Act is one of the bills I am prioritizing as a lawmaker," adding, "It is recognized as a bill that must be passed by the Culture, Sports and Tourism Committee, and there is bipartisan consensus on the matter."

The bill defines the promotion of the musical industry as a responsibility of the national and local governments and includes key tasks necessary for the development of the musical industry, such as fostering professional talent, protecting copyrights, expanding infrastructure, supporting exports, and designating dedicated organizations.

Lee Jongkyu, Chairman of the Korea Musical Association, said, "Recently, the government and the National Assembly have shown a marked increase in interest in musicals," adding, "I expect that full-scale discussions on the bill will begin at the end of the year and that it will be enacted in the first half of next year."