I attended the Broadway production of Billy Elliot sometime around 2008–2010 and was deeply moved. When the Korean licensed production opened in 2017, I went with my two sons, firmly believing they should share this experience.

From whispers in the audience, I gathered that we were watching the youngest Billy in the cast. Sung Ji-hwan, as the youngest of the four Korean Billys, displayed astonishing dance and acting ability, precise diction, and a well-trained singing voice. He was such a small boy that he almost seemed suited to play the “small boy” character who opens the show, making his talents all the more striking. His tap dancing and ballet even surpassed what I remembered from the Broadway Billy, and his “Angry Dance” left a lasting impression. His “Electricity,” with clear diction followed by striking ballet movement, was especially touching — providing an emotional arc and a turning point in the musical.

The Korean production closely mirrored the Broadway version. The miners looked authentic, their hopeless hope resonating as they supported a neighbor’s child and returned to the mines, defeated. Mrs. Wilkinson was played by Choi Jung-won, who captured the spirit of a local ballet teacher you might find in any small Korean city. Tony’s song, He Could Be a Star, also left an emotional mark, reminding me that he, too, was still young and had dreams of his own.

Korea has mining towns that closed down due to environmental concerns, making the themes deeply relatable. The Korean performers brought exceptional dance and vocal talent to the production, and the young Billys demonstrated a level of performance that reflected the country’s high expectations for musical theater.

One of my sons was so moved that he returned to see it again with friends. He later told me that a Korean TV show had aired the audition process for the Billys, and all of them were remarkably talented.

I remember Deep Into the Ground, where Billy’s father, Jackie Elliot, shared his own story, and The Letter (Reprise), where Billy’s mother and Billy held the acceptance letter, promising that he would be himself and move forward. I admit, however, that I did not recall Merry Christmas Maggie Thatcher at all.

I never forgot either Billy — in Korea or on Broadway. It is always special to watch young actors excel in such big musicals. I hoped they enjoyed the experience without being overwhelmed or overburdened, finding valuable insights in their lives, just as Billy’s first dance symbolized in the musical.

I also later discovered that Min Chul Jeon, now a soloist at the Mariinsky Ballet, had once been among seven Billy candidates but had to step aside after outgrowing the height requirement. It was a small but touching surprise — another reminder that the dreams we witness onstage often continue in unexpected ways.