🎭 Red Book (London Reading & Showcase – 2022)

📅 December 5, 2022 – Seven Dials Playhouse (Reading)
📅 November 10, 2023 – The Other Palace (Showcase)

Production: Global Musicals, directed by Katherine Farmer

🧭 Overview

Red Book is a Korean original musical set in Victorian England, telling the story of Anna, a bold and imaginative woman in a society that restricts female independence, sexuality, and authorship. As she navigates her way through social prejudice and professional rejection, she publishes a daring book that challenges the norms of her era — igniting a scandal, a trial, and ultimately, a movement of solidarity among women.

Originally staged in Korea in 2021, Red Book was praised for its witty book, lyrical score, and feminist perspective. The musical follows Anna’s transformation from an eccentric outsider to a symbol of resilience and expression in a repressive age. The title refers both to her fictional work and to the metaphorical journal of every woman silenced by propriety.

🌍 English-Language Development in the UK

In 2022, Red Book underwent English translation and adaptation for Western audiences through a Korea Arts Council (ARKO) initiative. The localized script was workshopped and presented in two key events in London:

A reading at Seven Dials Playhouse on December 5, 2022, as part of a networking event with British industry professionals.

A showcase at The Other Palace on November 10, 2023, featuring local cast and staff, aimed at attracting West End and Edinburgh Festival partners.

The project was led by Global Musicals and director Katherine Farmer. The role of Anna was performed in English by Asian-American and British actresses, including in a separate workshop listed on Roshani Abbey’s theater credits. According to producer Jung In-seok (IM Culture), the team aims to create a viable English-language model of Korean musical storytelling, even in markets not yet familiar with Korean originals.

📝 Producer Commentary

Jung remarked in a JoongAng Ilbo interview:
“We’re creating a model that could appeal even in markets with no current demand for Korean musicals. Like how we license Western shows in Korea, we hope to eventually reverse that flow — even if our first steps are modest.”