The work reinterprets the Korean Princess Pyeonggang folktale through actor-driven physical theatre, live sound, and minimal stage objects. Its portable form later supported cultural-exchange and festival performances abroad. The musical was developed by alumni of the Korea National University of Arts (K-Arts), who formed the theatre troupe Ganda shortly after graduation. The creative team explored a radical question: how much theatre can be created without stage sets, props, or musical instruments? Their answer was a production built entirely from the performers’ bodies and voices.

Actors generate sound effects—such as echoes, wind, and dripping water—through vocal techniques, while landscapes and environments are suggested through choreography and acrobatic movement. This approach positioned the work somewhere between musical theatre, physical theatre, and movement-based storytelling.

Following its 2004 premiere in Seoul, the production appeared at several major Korean performing arts festivals, including the Busan International Performing Arts Festival and the Miryang Summer Performing Arts Festival, where it received attention for its originality and ensemble energy. The production is notable for its a cappella theatrical structure, in which performers create the entire soundscape with their voices rather than using instruments or recorded music. Stage environments—including forests, caves, and water—are formed through coordinated body movement and acrobatic staging, while ensemble vocal harmonies provide rhythm and atmosphere.

This stripped-down aesthetic foregrounds the fundamentals of theatre—voice, body, and imagination—resulting in a hybrid form that blends musical theatre with elements of physical performance. Since its premiere, Behind the Mirror has been recognized for its inventive theatrical language and energetic ensemble performance style.

The production is also notable for having featured performers who later became prominent figures in Korean film, television, and theatre, including Jin Sun-kyu and Jeon Mi-do. Within Korea’s small-theatre scene, the musical gained particular attention for demonstrating how limited production resources could be transformed into creative strengths. Its later appearance at the Edinburgh Fringe Festival further illustrated the growing international interest in experimental Korean performing arts.