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Licensed Musicals I’ve Attended in Korea
Licensed musicals make up a major share of Korea’s musical theater market, featuring adaptations of well-known Broadway and West End productions translated and reimagined for Korean audiences. These shows bring global works to local stages, often with high production values, strong vocal performances, and unique reinterpretations that reflect Korea’s theatrical style.
This page features a selection of licensed musicals I’ve attended in Korea, with reviews grounded in personal experience. For several productions, I’ve also seen the original Broadway versions — and where comparisons are relevant, I’ve included cross-reference links in the review sections. If you’re curious about how these stories evolve across cultures and stages, I recommend visiting the Broadway Musicals as well.
Phantom
A visually cinematic and vocally refined staging of Yeston & Kopit’s Phantom at Sejong Center, June 2025. Park Hyo-shin showed restraint and depth, while Jihye Lee delivered with classical finesse. Despite a musically rich first act, Act II’s shift to ballet and heavy dialogue disrupted the pacing. Still, a rewarding reinterpretation.
Korean Premiere:
2015
Re-Runs in Korea:
5
World Premiere:
1991
Year Attended:
2025
Bare: A Pop Opera
Bare: A Pop Opera pulses with rock rhythms and raw emotion, though this staging muted its full roar. Nadia shone, Peter danced, Jason lived the role with fragile honesty. More than a love story, it’s a cry for identity and truth, ending not in release but in silence that lingers.
Korean Premiere:
2015
Re-Runs in Korea:
7
World Premiere:
2000
Year Attended:
2025
The Bridges of Madison County
The Korean production of The Bridges of Madison County paired intimate performances by Cha Ji-yeon and Jaerim Choi with polished staging and rich orchestration. Modern design replaced rustic realism, but the tenderness remained. The film still carries deeper inevitability.
Korean Premiere:
2017
Re-Runs in Korea:
3
World Premiere:
2013
Year Attended:
2025
Aladdin
With a vibrant ensemble and creative staging, Aladdin brought Broadway flair to Korea, though vocal inconsistency in key roles and a less-than-magical Genie entrance affected the flow. Thoughtful translation and visible effort carried the show, but with stronger lead support and stage mechanics, it could have truly soared.
Korean Premiere:
2025
Re-Runs in Korea:
1
World Premiere:
2011
Year Attended:
2025
Jekyll & Hyde
Returning to Jekyll & Hyde after twenty years, I witnessed how staging, casting, and memory evolve — yet the music still stirs. Kim Sung-cheol’s grounded duality, Hong Kwang-ho’s vocal mastery, and Jisoo Sohn’s crystalline Emma made this revisit unforgettable.
Korean Premiere:
2004
Re-Runs in Korea:
9
World Premiere:
1990
Year Attended:
2025
Lizzie
Lizzie fused true crime, theatrical grit, and unapologetic rock into a bold, all-female explosion of power and defiance. With fluorescent axe props and a roof-raising finale, the show turned a dark legend into an electrifying musical experience.
Korean Premiere:
2020
Re-Runs in Korea:
3
World Premiere:
2009
Year Attended:
2024
Kinky Boots
Korea’s Kinky Boots mirrors Broadway/West End staging with natural Korean lyrics. Lola (Park Eun-tae) pops; Lauren (Kim Hwan-hee) lands the comedy. Hooky score and tight story make for an enjoyable, faithful night, just not a standout.
Korean Premiere:
2014
Re-Runs in Korea:
6
World Premiere:
2012
Year Attended:
2024
Chicago
Korea’s Chicago mirrors the 1996 concert-style revival. From a third-floor balcony the look felt even more minimal, but acoustics were excellent. Jeong Sun-ah’s Velma, Ivy’s Roxie, and Choi Jae-rim’s Billy stood out—his “We Both Reached for the Gun” ventriloquism was spotless. A crisp, crowd-pleasing night.
Korean Premiere:
2000
Re-Runs in Korea:
12
World Premiere:
1975
Year Attended:
2024
Dear Evan Hansen
Park Kang-hyun gave the most vocally and emotionally complete performance of his career — he became Evan Hansen. With a strong supporting cast and faithful staging, Dear Evan Hansen resonated deeply as a universal story of connection and redemption.
Korean Premiere:
2024
Re-Runs in Korea:
1
World Premiere:
2015
Year Attended:
2024
Natasha, Pierre & The Great Comet of 1812
The 2024 Korean production of The Great Comet of 1812 restored its immersive staging with actors roaming aisles and balconies. Julian Kim’s youthful, nuanced Pierre and K.Will’s detached, soaring interpretation stood out. Vibrant music, evolving performances, and dazzling comet lighting made each visit unforgettable.
Korean Premiere:
2021
Re-Runs in Korea:
2
World Premiere:
2012
Year Attended:
2024
Notre-Dame de Paris
Notre Dame de Paris is less a musical than a moving monument — built on repetition, acrobatics, and myth. Visually stunning and thematically rich, it explores longing, exclusion, and power. Acrobatic movements and dancers resonated even stronger than the music, animating the cathedral with human force.
Korean Premiere:
2005
Re-Runs in Korea:
6
World Premiere:
1998
Year Attended:
2024
Les Misérables
The 2024 Korean production of Les Misérables featured detailed staging and strong performances. Eponine and Valjean were portrayed by capable double casts, with Min Woo Hyuk’s emotional delivery standing out. Though some vocal fatigue appeared, the ensemble was effective, and the Korean lyrics—especially for the Thénardiers—were well localized.
Korean Premiere:
2013
Re-Runs in Korea:
3
World Premiere:
1987
Year Attended:
2024
The Phantom Of The Opera, Daegu
In Daegu, Julian Kim’s Phantom reached its peak. Across 19 performances, each emotionally distinct yet complete, he filled the stage with haunting presence and depth. Perfect acoustics, nuanced acting, and unwavering vocals made this final leg an unforgettable, fulfilling experience.
Korean Premiere:
2001
Re-Runs in Korea:
3
World Premiere:
1986
Year Attended:
2023
Rent
Rent, Jonathan Larson’s rock reimagining of La Bohème, hit Korea with energy but uneven moments. Roger and Mimi’s tragic love stood out, with Kim Hwan Hee’s Mimi especially strong. Some cultural references felt distant, but “Seasons of Love” still brought the audience together.
Korean Premiere:
2000
Re-Runs in Korea:
9
World Premiere:
1996
Year Attended:
2023
Monte Cristoe
The Korean Monte Cristo turns Dumas’s epic into a swift, comic-tinged revenge tale. Edmond’s escapes, duels, and treasure hunt race toward a lighthearted “I’m your father” finale. Fast pacing and strong songs make it both amusing and musically satisfying.
Korean Premiere:
2010
Re-Runs in Korea:
6
World Premiere:
2009
Year Attended:
2023
The Phantom Of The Opera, Seoul
Seoul performances deepened my engagement with the show, as I followed Julian Kim’s Phantom across over 20 viewings. While early sound issues at Charlotte Theater affected Act I, later adjustments brought balance and clarity. I focused on the actor’s consistency across partner combinations, and one particular performance stood out for its emotional precision — reshaping my understanding of key scenes.
Korean Premiere:
2001
Re-Runs in Korea:
3
World Premiere:
1986
Year Attended:
2023
Memphis
A late-night visit to Beale Street years ago gave me a glimpse of Memphis — the city and the sound. SONnet’s phenomenal vocals — raw, textured, and soaring — captured that soul with unmatched power on the Korean stage.
Korean Premiere:
2024
Re-Runs in Korea:
2
World Premiere:
2002
Year Attended:
2024
Mozart!
Expected a sharpened myth with a beloved score; found it undercooked. Chorus blend smeared, climaxes dulled. Wolfgang serviceable but capped; Weber numbers rough. Bright spots: Schikaneder (Jung Wonyoung), steady Constanze (Sunmin), commanding Colloredo (Gil Byeong-min).
Korean Premiere:
2010
Re-Runs in Korea:
7
World Premiere:
1999
Year Attended:
2023
The Phantom Of The Opera, Busan
Five performances in Busan reignited my connection to Phantom, led by Julian Kim’s powerful, emotionally layered portrayal. His baritone redefined the role with rare depth and control. I compare other Phantoms, explore the dual castings of Christine and Raoul, and reflect on staging and evolving acoustics. This run didn’t just revive the show — it marked a personal turning point in how I listen, watch, and write.
Korean Premiere:
2001
Re-Runs in Korea:
3
World Premiere:
1986
Year Attended:
2023
West Side Story
Kang-hyun Park’s Tony balanced innocence, passion, and tragedy with remarkable vocal control and sincerity. Despite some ensemble and vocal challenges, the production delivered Bernstein’s score with emotional and musical richness.
Korean Premiere:
1997
Re-Runs in Korea:
4
World Premiere:
1957
Year Attended:
2023
Hadestown
After seeing Hadestown in Korea and later on Broadway, I returned in 2023 with new eyes — and ears. Kang-hyun Park’s Orpheus was deeply moving, and despite the lack of a descending center hall, his voice alone woke me from jet lag.
Korean Premiere:
2021
Re-Runs in Korea:
2
World Premiere:
2016
Year Attended:
2021, 2023
Rebecca
The Korean production of Rebecca blends romance, mystery, and Gothic spectacle. With powerful staging of sea and fire, Mrs. Danvers dominates, though sound levels left Maxim underpowered. Strong visuals and atmosphere make it a gripping adaptation of the Viennese musical.
Korean Premiere:
2013
Re-Runs in Korea:
7
World Premiere:
2006
Year Attended:
2021
Billy Elliot
In both Broadway and Korea, Billy Elliot moved me deeply. Sung Ji-hwan, the youngest Korean Billy, delivered astonishing dance, acting, and vocals, surpassing even my Broadway memory. Authentic staging, relatable themes, and remarkable young talent made the experience unforgettable.
Korean Premiere:
2010
Re-Runs in Korea:
3
World Premiere:
2005
Year Attended:
2017
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