1. Overview

The Last Man is an original Korean solo musical that adopts the visual language of a zombie apocalypse to explore contemporary isolation, anxiety, and the phenomenon of solitary death. Conceived initially as a web musical, it later evolved into a live stage work and has since circulated internationally through readings, showcases, and licensed adaptations. While its premise evokes genre conventions of horror and survival, the work ultimately functions as an intimate psychological portrait of a single individual confronting confinement, fear, and the limits of human connection.

2. Background and Development

The Last Man originated as a web-based musical project in South Korea and won the Grand Prize at the Seoul Arts Group’s Web Musical Creative Content Contest for Young Artists. It was later adapted for the stage, becoming one of the earliest examples of a theatrical work derived from a web musical platform.

Designed explicitly as a one-person musical, the piece departs from conventional commercial formats in Korean musical theatre. Its development emphasized performer autonomy: while the central character and narrative frame remain consistent, productions allow flexibility in interpretation, casting, and even gender-swapping. This openness has made the work particularly adaptable for international presentations and experimental formats.

3. International Performances

2023 – New York Reading Performance

The Tank, New York, NY
In November 2023, The Last Man was introduced to U.S. audiences through a staged reading at The Tank. Presented as an in-person reading, the performance emphasized the text and conceptual framework rather than full production elements. The reading positioned the musical as a Korean original with global thematic resonance, highlighting its minimalist structure and psychological focus. Content warnings, including suicide, were clearly stated, underscoring the work’s engagement with mental health themes.

2024 – Taipei Showcase

K-Musical Roadshow, TPAC Blue Box (Taipei Performing Arts Center), Taiwan
Showcase performance (20–25 minutes). Presented in Korean with Chinese surtitles as part of the K-Musical Roadshow, introducing the work’s one-person bunker narrative to Taiwanese presenters and audiences.

2024 – New York Performance (70-minute Adaptation)

Boulevard Carroll Studios, New York, NY
In November 2024, a newly adapted 70-minute English-language version was presented as an industry reading, starring Anthony Norman as the Survivor. This version relocated the setting to New York City during a zombie apocalypse and reframed the protagonist as a socially awkward, tech-obsessed streamer broadcasting his survival from isolation. Directed by Spencer Liff, with new arrangements and sound design, the adaptation balanced dark comedy with emotional introspection, reinforcing the musical’s crossover potential for Western markets.

2025 – China Licensed Production

Shanghai Grand Theatre (Middle Theatre), Shanghai, ChinaLicensed full production. Mandarin-language adaptation titled THE LAST MAN (存在者), incorporating live-stream and screen-based elements for a localized presentation.a straightforward battle between a man and zombies gradually reveals itself as something else entirely.

2026 – London Production (UK Premiere)

Southwark Playhouse Elephant
Full English-language production (8 May – 6 June 2026).
Directed by Daljung Kim with dramaturgy by Jethro Compton, this newly reimagined version presents The Last Man as a one-person rock musical blending concert performance, psychological drama, and social commentary.

Set in a post-apocalyptic world where a mysterious virus has eradicated humanity, the story follows a lone survivor sealed inside bunker B-103. As isolation deepens, the boundary between survival and living begins to collapse, forcing the protagonist to confront whether mere survival is enough—or whether he must risk everything by opening the bunker door.

Featuring a live rock score, dark humour, and intense psychological focus, the production highlights the work’s intimate scale and thematic universality. This UK premiere marks the musical’s first fully staged English-language production in a major theatre setting.

4. Synopsis

A mysterious zombie virus has spread across the world, annihilating humanity—except for one man. Having anticipated disaster, the Survivor has sealed himself inside an underground bunker stocked with supplies. What appears to be a straightforward battle between a man and zombies gradually reveals itself as something else entirely.

As the sounds of zombies fade, voices from outside begin to emerge. The truth becomes clear: the apocalypse exists primarily in the protagonist’s mind. Trapped by fear and circumstance, he has constructed a fantasy to rationalize his isolation. Though he repeatedly considers opening the bunker door, he ultimately lacks the courage to do so. In the final moments, the Survivor sings not of escape, but of solidarity—offering comfort to others who live unseen, isolated lives like his own.

5. Artistic Approach

The Last Man is notable for its strict one-actor structure, a rarity in Korean musical theatre. The production relies on minimal staging, sound design, and a single prop companion—a custom-designed teddy bear that functions as both emotional anchor and symbolic partner. This object varies by performer and production, reinforcing the work’s emphasis on personal interpretation.

Musically, the piece blends rock influences with monologue-driven storytelling. Rather than advancing plot through spectacle, it foregrounds internal conflict, repetition, and psychological unraveling. Variations in curtain-call staging—sometimes exiting through the bunker door, sometimes retreating inward—intentionally leave the ending unresolved.