Chinese superfans of Korean musicals flock to Seoul to watch original and Western shows

Korea and China’s musical theatre scenes are experiencing an increase in cultural exchanges, with Korean productions captivating Chinese audiences and Chinese musicals making notable debuts on Korean stages. This dynamic interplay is not only attracting theatregoers but also reshaping the musical landscapes of both countries. The growing relationship began with Chinese musical enthusiasts travelling to Korea, drawn by the country’s reputation for high-quality productions featuring A-list performers. Xiao Yimeng, a 25-year-old who works in Beijing, has been visiting Seoul for musicals on a regular basis for more than a year, after hearing praise about Korea’s musical scene from friends. She estimates that she has seen more than 60 shows since then. View this post on Instagram A post shared by 정진혁 (@craigjung) The first performance she watched left her amazed by the cast’s excellent singing skills. “I felt as if I could touch the waves of the actors’ voices,” she says. “I can feel the actors’ vocal foundations are all very good … Not only the lead actors but the whole ensemble is at this high level.” Xiao is among many musical enthusiasts in China for whom Seoul has become a go-to destination for shows, while others who study or work in Korea also appreciate the opportunities to see well-produced performances during their stay. Korean original musicals including Frankenstein and La Rose de Versailles, as well as Korean licensed productions of Western musicals such as Hadestown, Chicago and Les Miserables, have all been recognised for their high quality and are being lapped up by Chinese viewers, who share their reviews and comments on social media platforms like Weibo and Xiaohongshu. “The cast is so incredible that I want to see it in various combinations [of the cast] dozens of times,” one user wrote on Xiaohongshu after seeing a performance of Hadestown. Unlike Broadway, where lead roles are typically cast with one performer, Korea’s musical productions often rotate performers for the same part, resulting in a wealth of interpretations and combinations. The Xiaohongshu user continued: “On stage, there’s a collision of souls among the actors … It instantly became my favourite show, I ended up crying from start to finish. The atmosphere and impact can only be truly understood by experiencing it in the theatre!” Xiao says that for Korean productions of Western musicals, “while [the original] scripts and compositions are used, Korea can often raise the same play to a higher level”, adding that the musicals Dear Evan Hansen and Hadestown have become her new favourite shows. Another Chinese viewer, surnamed Sheng, who lives in Tokyo and travelled to Seoul for the musicals Hadestown and Chicago, also says she was impressed by the actors “who are very dedicated”. “Hadestown is my favourite musical. I used to live in New York and saw it many times, so I was very curious about the Korean version,” the 28-year-old says. “For Chicago, I was amazed by the high level of performance I saw in the clips of the Korean version on YouTube and wanted to see those two actors, Choi Jae-rim and Min Kyung-ah, in person, so I specifically chose the cast to see them,” she adds. Sheng’s comments highlight how social media has blurred borders in theatre, making international performances more accessible. She adds that she does not really feel affected by the language barrier as long as she prepares with some understanding of the plot and lyrics before viewing. Shana Ma, a 31-year-old who works in Beijing, has been a musical fan since she was studying in Korea for a master’s degree about a decade ago. She still frequently travels back for shows. “The most popular original work might be Frankenstein, which is quite representative of large-cast Korean musicals. I flew [to Seoul] three times, in June, July and August, to see it,” she says. She adds that she also likes the original Korean musicals staged in smaller theatres in Seoul’s Daehangno neighbourhood, where her interest in musicals started. Ma organises several chat groups on Chinese messaging app WeChat, in which about 2,000 musical fans gather to share information and tips about Korean musicals. She adds that one of the reasons Korean musicals have become so popular with Chinese fans is that K-pop idols sometimes perform in them. Korean original musicals such as Gloomy Day and Fan Letter are also finding enthusiastic audiences in Chinese cities, signalling an expanding appeal. In Shanghai, which also has a burgeoning musical theatre scene, the Chinese versions of Korean musicals Mia Famiglia and its prequel Mio Fratello have enjoyed popularity since their introductions in August 2020 and April 2021, respectively. Both productions feature immersive stage sets and directing styles, allowing audiences to engage more deeply with the performances. Due to their immense success, these shows are running as open-ended, site-specific immersive productions, further cementing the status of Korean musicals in the Chinese market. The cultural exchange flows both ways. In July, the Chinese musical The Butterfly on the Bund 1939 became the first Chinese production to be licensed and staged in Korea. Set in Shanghai under Japanese occupation, the musical resonated with Korean audiences by exploring the shared historical experience of colonisation between the two countries. The Chinese production company Focustage praised the performances of Korean actors, stating that they “brought fresh perspectives to the production”, while the plot which “closely reproduces the original content allows audiences to experience the unique charm of an authentic Chinese story”. Chinese fans who have watched both versions of The Butterfly on the Bund 1939 mentioned subtle differences between the original and the Korean adaptation. Xiao says she felt quite satisfied with the Korean version, though she still spotted some nuances in the lyrics that got lost in translation. “The original lyrics are really well written and there are many nuances that only someone who understands the language can fully appreciate. This part inevitably gets lost due to word-count limitations or other challenges during translation,” she says. Ma, who has also seen the Korean version, agrees, but also says she was still fully drawn into the story. “I think this play has a solid foundation, with a complete story, good pacing and music. So no matter which language it’s performed in, I think it remains a highly complete work,” she says. These cultural exchanges are fostering a deeper appreciation and understanding between the audiences of both nations, proving that musical theatre is a medium for bridging cultural divides beyond language barriers. Ma notes the broader benefits of these exchanges, suggesting that musical theatre not only entertains but also educates audiences about historical and cultural contexts. “Regardless of the type of cultural work, there will always be a sense of cultural exchange,” she says. “We will come to understand some of the stories’ background as long as we are willing to step into the theatre.”

Chinese superfans of Korean musicals flock to Seoul to watch original and Western shows

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}Korean original musicals and Western productions are attracting audiences from China, while Chinese productions are making inroads in Korea

Korean original musicals and Western productions are attracting audiences from China, while Chinese productions are making inroads in Korea