SYNOPSIS

Premiering in 2006, Finding Mr. Destiny (김종욱 찾기) is a South Korean romantic comedy musical written, composed, and directed by Jang Yoo-jung, with music by Kim Hye-sung. A small-theater favorite, the show is known for its clever humor and intimate staging. At the very start, the Multi-Man — who also acts as the host and narrator — proudly announces that the performance uses pre-recorded music, setting the tone for the playful and self-aware theatrical experience to follow.

The story follows a woman unable to forget her first love, Kim Jong-wook, whom she met years earlier during a trip to India. Pressured by her retired general father to marry before turning thirty, she reluctantly accompanies him to a new “First Love Search Company.”

The company’s founder is no expert. A conservative, practical man recently fired from his advertising job, he was inspired to start the business after hearing a radio broadcast claiming that everyone secretly yearns for their first love. His first customer turns out to be the woman, and what begins as a professional arrangement soon becomes a journey of personal discovery.

As they search for Kim Jong-wook, the two uncover a web of memories and coincidences that force them to confront their own views on love and destiny. Along the way, they navigate awkward meetings, family expectations, and the emotional weight of both holding on and letting go. Eventually, they travel together to India in hopes of finding a clue, only to realize that the woman’s hesitance is not truly about finding Kim Jong-wook but about her fear of making big decisions in life. They come to understand that love is nearer than they expected. On the journey home, the audience gradually realizes that the search was never just about finding Kim Jong-wook — it was about confronting the woman’s own fears and choices, and the possibility that love might already be closer than expected. As they grow and mature through each other’s company, the story closes on a romantic note, offering the promise of a new beginning.

A unique feature of the show is the Multi-Man, a narrator and comedic figure who plays approximately 25 roles — from a fortune teller and taxi driver to the heroine’s father and various versions of Kim Jong-wook. His rapid character changes and humor add rhythm and energy to the story.

Finding Mr. Destiny cleverly uses a small cast and swift scene changes to maintain dynamic pacing. Adapted into a popular film, the musical has enjoyed long-running success and remains a beloved example of Korea’s original small-theater romantic comedies. The production also offers English, Chinese, and Japanese subtitles on monitors, making it accessible to international audiences.


REVIEW

First attended: 2006 (multiple performances until 2010)
Most recent attendances: 2024 and 2025

Finding Mr. Destiny has become something of a modern Korean musical theater legend. Premiering in 2006, it pioneered the romantic-comedy musical format in Korea and has maintained an impressive open-run status for years. My relationship with this production spans nearly two decades, during which I’ve witnessed its triumphs and its evolution.

In its early days, the show’s clever use of a three-person cast was its greatest strength. The Multi-Man actor, rotating through various roles, added humor and versatility rarely seen even on larger stages. Depending on who played the Multi-Man, the show exhibited very different colors, which delighted repeat attendees. Once, the Multi-Man was rigid and soldier-like, giving stern orders. Another time, he was heavily built, humorously showing off his muscles while delivering firm but gentle lines. In another performance, he was overtly comic, making the heroine’s obedience to her father seem motivated more by pity than respect.

The Multi-Man seamlessly transformed into her father, a taxi driver, a female flight attendant, an Indian innkeeper, a tour guide, a half-man/half-old lady, and more. The production also made clever use of props, many of which were carried by the actors or popped out from the set itself. Over the years, these props weathered and aged — and sometimes were replaced or repainted, which became part of the charm for longtime fans like me.

The story itself was contemporary and relatable. Both the woman and the man were unemployed — she sought her mysterious first love, and he hoped to earn money through his fledgling business. The plot, which included an early 2000s-style internet search using keywords from the woman’s memories, felt very timely for its era. The dialogue cleverly captured the awkward yet hopeful energy of two young people slowly finding each other, often interrupted by the Multi-Man’s humorous antics. Songs like "Destiny," "Come on India," and "이젠 정말 만나야 할 때" ("Now’s Really the Time to Meet") anchored the show’s emotional arc.

However, this final number had one lingering flaw: the repetitive "oh oh oh oh oh" motif. Played even before the show started, it soon became overwhelming. To my ears — especially due to the sound design of the time, with heavy reverb — it began to resemble an "oink oink oink" sound. At first, this was a minor annoyance, but over time, it became so grating that I hesitated to return despite my deep affection for the show.

Yet what kept me coming back — and what ultimately defines Finding Mr. Destiny’s enduring success — was the extreme attention to detail shown by the creative team. As new Multi-Men joined the cast, the script was thoughtfully adjusted to suit their styles and appearances. Rather than forcing each actor into a rigid mold, the production flexibly adapted. The stage design also saw subtle improvements over time, enhancing visual storytelling without losing the show’s original charm.

After nearly 15 years, I returned to the show in 2024. To my surprise — and relief — the "oh oh oh oh oh" motif had been softened. It was now sung more gently, reducing the echoes that had once overshadowed the story’s emotional core. I even encouraged my son to attend, but he declined, still haunted by memories of the overpowering motif from earlier years. However, I can now confidently say that it no longer dominates the performance as it once did. (Of course, some audience members may have liked the motif all along, so this remains my personal view.)

The core story remained unchanged but felt more emotionally resonant. Small script refinements and polished staging reflected the production’s ongoing commitment to quality. The technological updates in the plot were subtle — modern search tools were acknowledged, though AI services had not yet been integrated. (In fact, adding AI might make the search too easy and undermine the entire premise!)

The musical’s score continues to serve the story well. The melodies are catchy without being grandiose. Most numbers avoid soaring high notes, except for some moments featuring the heroine. One enjoyable element is when the actor playing Kim Jong-wook alternates between Kim’s deep, romantic voice and the man’s more casual speaking tone. The heroine, while dutifully obeying her father, also shows independence and spontaneity, which her vocal lines reflect — expressive but not overly ornamental. The Multi-Man’s songs — especially those performed as the Indian innkeeper and in his comedic dual roles as a man and an old woman — remain light-hearted and vocally manageable, contributing to the show’s comic energy.

The musical’s popularity eventually led to a film adaptation. Though the movie didn’t achieve the same commercial or critical success, the very fact that an original Korean musical inspired a mainstream film speaks volumes about its cultural significance. The stage version, however, remains the definitive medium for this story.

In 2024 and 2025, I attended two more performances. At one, the cast members’ chemistry and charisma recaptured the magic of earlier years. At the other, while the performers were certainly talented, they lacked some of the glamour and romantic allure that earlier versions had delivered. For a show that partly relies on romantic fantasy, this shift was noticeable.

Finding Mr. Destiny has matured gracefully. What began as an innovative, small-theater production has grown into a beloved staple of Korean musical theater. For new viewers, it offers a charming, heartfelt experience. For returning audiences like myself, it reflects not just the journey of the characters but also the evolution of the show itself — imperfections, growth, and all.