Based on Johann Wolfgang von Goethe’s 1774 novel The Sorrows of Young Werther, this musical premiered in November 2000 at the Yeonkang Hall of Doosan Arts Center. Written by Ko Sun-woong with music by Jung Min-sun, it established an unusually lyrical and introspective tone within the Korean musical scene, relying on chamber-style musical language and emotional precision rather than spectacle.

The work underwent notable title changes across its performance history. The 2000 premiere was staged under the title "베르테르" (Werther). From 2001 through 2012, it adopted the more literal title "젊은 베르테르의 슬픔" (The Sorrows of Young Werther), aligning more directly with Goethe’s original novel. Beginning with the 2013 production, the title reverted to "베르테르," and that shorter title has remained in use ever since.

The musical’s production history is also closely tied to the development of Korean musical fandom and repertory culture. Early productions built a devoted fan community, often cited as one of the formative examples of Korea’s “repeat audience” or “revolving-door audience” culture. In the 2000s, the work survived financial instability through extraordinary fan support and was later sustained through co-production structures that allowed it to continue as a long-running revival property.

Musically and visually, the work has changed over time. Early versions were praised for their intimate chamber-orchestra texture, while later revivals expanded the orchestration and refined the visual symbolism. The 2010 version introduced the Magnet Mountain motif more prominently through a large ship-like set, while the 2013 version established many of the visual and dramaturgical elements associated with the current form of the musical, including a more streamlined title, renewed design language, and richer orchestral scale.

With repeated revivals through its 25th anniversary production in 2025, Werther has become one of the representative Korean literary musicals, notable not only for its artistic continuity but also for its role in shaping audience culture, casting history, and the emotional vocabulary of Korean musical theatre.