Korean musical ‘Maybe Happy Ending’ eyes Tony glory

The Korean musical 'Maybe Happy Ending' is building strong momentum on Broadway. It recently won honors from the New York Drama Critics’ Circle and the Drama League, and has been nominated in 10 categories at the upcoming Tony Awards, including Best Musical, Best Direction, Best Book, and Best Score. A win would mark the first time an original Korean production receives such recognition, prompting comparisons to the global breakthrough of Parasite.

Following the international rise of Korean dramas and films, K-musicals are finding a foothold in global markets. Beyond short-run performances or financial backing, Korean creators and producers are now participating directly in local production systems.

'Maybe Happy Ending' was co-created by Korean playwright Park Cheon-hyo and American composer Will Aronson. It was first developed through the Wooran Cultural Foundation’s program in 2014 and premiered in 2016 in a 300-seat theater in Seoul’s Daehangno district. Set in late-21st-century Seoul, the musical follows the love story of abandoned helper robots. Its originality and emotional depth were praised by domestic audiences.

The show's overseas expansion began after a 2016 showcase in New York, where it caught the attention of Broadway producer Jeffrey Richards. This led to a formal Broadway contract, and the show opened last November at the Belasco Theatre. It is now enjoying strong box office returns, recently surpassing $1 million in weekly ticket sales for two consecutive weeks.

Kim Yoo-cheol, head of Library Company and a producer who was involved in the show’s early development, noted that while Broadway was not the initial target, the creators worked on the English version in parallel due to their connections in New York. “The emotional nuance and lyricism, distinct from typical show-style musicals, seem to resonate with Broadway audiences,” he said. Ji Hye-won, professor of arts management at Kyung Hee University, added that post-pandemic shifts have made smaller-scale productions more attractive on Broadway.

The first Korean musical to reach Broadway was 'The Last Empress,' performed at Lincoln Center in 1997. Later, 'Hero,' which depicted the final year of independence activist Ahn Jung-geun’s life, was staged in 2011. However, those efforts were limited in scope and relied heavily on expatriate audiences. Today’s K-musicals are experiencing broader engagement.

Producer Shin Chun-soo of OD Company became the first Asian solo lead producer on Broadway in April last year with 'The Great Gatsby.' The production is currently running in New York and debuted in London’s West End last month. “The reception has been strong, and we plan to move to a new London venue after September,” he said. “There’s surprise in the industry that a Korean producer is leading the project.”

Another original Korean musical, 'Marie Curie,' had a long-running English-language production last year at London’s Charing Cross Theatre. Kang Byung-won, CEO of production company LIVE, emphasized that it was not simply a translation, but a commercially successful adaptation that was well-embedded in the local market.

Won Jong-won, a performing arts professor at Soonchunhyang University, said trust in Korean culture, built through the success of K-pop, film, and television, is now extending into musical theater. “Succeeding in English-speaking markets requires a deep understanding of local preferences," critic Park Byung-sung said. "Small-theater productions from Daehangno must go beyond niche appeal and deliver broader stories.”

사지원 기자 4g1@donga.com