A scene from the Korean production of the Chinese musical "The Butterfly on the Bund 1939" / Courtesy of Focustage

The musical theater scenes in Korea and China are experiencing an increase in cultural exchanges, with Korean productions captivating Chinese audiences and Chinese musicals making a notable debut on Korean stages. This dynamic interplay is not only attracting theatergoers but also reshaping the musical landscapes of both countries.

This growing relationship began with Chinese musical enthusiasts traveling to Korea, drawn by the country's reputation for high-quality productions featuring A-list actors.

Xiao Yimeng, a 25-year-old who works in Beijing, has been visiting Seoul for musicals on a regular basis since June 2023, after hearing praise about Korea's musical scene from friends. She estimated that she has seen more than 60 shows since then.

The first performance she watched left her amazed with the cast's excellent singing skills.

"I felt as if I could touch the waves of the actors' voices," she recalled. "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 Chinese musical enthusiasts who find Seoul a go-to destination for overseas trips for the shows, while others who study or work in Korea also appreciate the opportunities to see the performances during their stay.

Korean original musicals including "Frankenstein" and "La Rose de Versailles" as well as Korean licensed productions of Western musicals "Hadestown," "Chicago" and "Les Miserables," all recognized for their quality, are warmly accepted by Chinese viewers who share their reviews and comments on Chinese social media platforms Weibo and Xiaohongshu after seeing the performances.

"The cast is so incredible that I want to see it in various combinations (of the cast) dozens of times," one wrote on Xiaohongshu, after seeing a performance of "Hadestown." Unlike Broadway, where lead roles are typically cast with one actor, Korea's musical productions often feature multiple actors for the same part, resulting in a wealth of diverse interpretations and combinations.

"On stage, there's a collision of souls among the actors ... It instantly became my favorite show, I ended up crying from start to finish. The atmosphere and impact can only be truly understood by experiencing it in the theater!"

For Xiao, the musicals "Dear Evan Hansen" and "Hadestown" have become her new favorite shows. And 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," she noted.

A set for the Korean musical "Frankenstein" is recreated for visitors to take photos at Bluesquare theater in Seoul, Aug. 20. Korea Times photo by Vanessa Cai

Another Chinese viewer surnamed Sheng, who lives in Tokyo and traveled to Seoul for the musicals "Hadestown" and "Chicago," also said she was impressed by the actors "who are very dedicated."

"‘Hadestown' is my favorite 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 said.

"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 Kyoung-ah, in person, so I specifically chose the cast to see them," she added, highlighting how social media has blurred borders in theater, making international performances more accessible.

Despite language barriers, Sheng noted that she doesn't really feel affected 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 and now 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 there three times, in June, July and August, to see it," she said, adding that she also likes the original Korean musicals staged in smaller theaters in Daehangno, where her interest in musicals started.

Ma also organizes several chat groups on Chinese messaging app WeChat, where about 2,000 musical fans gather to share information and tips about Korean musicals. She also pointed to some K-pop idols who join musicals as actors as one of the reasons behind the popularity of Korean musicals among Chinese fans.

A scene from the Korean production of the musical "Hadestown"/ Courtesy of S&Co

Cross-cultural appeal

Korean original musicals such as "Gloomy Day" and "Fan Letter" are finding enthusiastic audiences in Chinese cities, signaling an expanding appeal.

In Shanghai, which also has a burgeoning musical theater scene, the Chinese versions of Korean musicals "Mia Famiglia" and "Mio Fratello" have enjoyed popularity since opening 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 colonization 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 said 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 said.

Ma, who has also seen the Korean version, agreed but also said 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 said.

These cultural exchanges are fostering a deeper appreciation and understanding between the audiences of both nations, proving that musical theater is a medium for bridging cultural divides beyond language barriers.

Ma noted the broader benefits of these exchanges, suggesting that musical theater 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. We will come to understand some of the stories' background as long as we are willing to step into the theater," she said.

Vanessa Cai is a reporter with the South China Morning Post. She is currently based in Seoul, reporting for both The Korea Times and the South China Morning Post under an exchange program.