Often found at theaters and museums, Kwon Mee-yoo has covered a wide range of cultural fields from K-pop and dramas to theater and fine art for over a decade. Now as K-Culture Desk editor, she tries to connect Korean culture with global readers through fresh perspectives.
INTERVIEW From Seoul to Broadway, Hue Park’s Tony win brings Korean stories center stage
Tony Award winner Hue Park, who created "Maybe Happy Ending" / Courtesy of NHN Link
By Kwon Mee-yoo
When Hue Park stepped onto the stage at Radio City Music Hall, June 8, to accept the Tony Award for Best Book, he became the first Korean national to win one of Broadway’s highest honors. For the Seoul-born writer, the moment marked the culmination of a decade-long journey spanning two languages and cultures, and a creative partnership with American composer Will Aronson.
Their Tony-winning musical “Maybe Happy Ending” is a charming love story of two obsolete Helperbots set in a near-future Seoul. But beyond its futuristic yet humane premise, the show stands out in the theater landscape for its originality. In an era dominated by adaptations of novels, films and the real stories, "Maybe Happy Ending" offers a story and characters built entirely from scratch.
“'Maybe Happy Ending' is especially important to me because it’s the first original story Will Aronson and I created together,” Park said in a written interview with Korean media. “Building a world and characters from nothing was both an exciting and terrifying process.”
Korean lyricist and writer Hue Park, left, and American composer and writer Will Aronson pose with the Best Book and Score award for "Maybe Happy Ending" in the pressroom during the 78th Tony Awards at Radio City Music Hall in New York City, June 8. AFP-Yonhap
Writing across cultures
Growing up in Korea and studying abroad in the U.S. from the age of 25, Park spent nearly equal portions of his life in Seoul and New York. That duality infuses his work with a layered, bicultural voice that is rooted in Korean specificity and open to global connection at the same time.
“As a creator who moves between two cultures and languages, I want to tell stories that come from a slightly different perspective — yet remain meaningful and resonate widely,” the 42-year-old said.
Park and Aronson’s creative process defies the typical composer-lyricist team dynamic. They co-write books, lyrics and music in what Park calls an “organic and mutual” partnership.
“In Korea, Will is often referred to as a composer, but from the beginning, he has always written (the book) with me. In the States, we’re both simply called ‘writers’ — people who write, whether it’s notes or words. Even if the initial idea came from me, we build the story together, shape the tone and feel of the music together and talk with each other every day," Park said.
Their 17-year partnership is grounded in shared values, respect and friendship.
“We’ve never really drawn lines between what’s 'mine' or 'yours.' We’ve gone through every joy and struggle of the creative process together, growing up along the way."
Darren Criss, left, as Oliver and Helen J. Shen as Claire in "Maybe Happy Ending" on Broadway / Courtesy of Matthew Murphy and Evan Zimmerman
"Maybe Happy Ending" reflects a larger theme running through Park’s work and a conscious choice to tell Korean stories that are both personal and broadly relatable. His other collaborations with Aronson, including "Il Tenore," which follows Korean students attempting to stage an opera during 1910-45 Japanese colonial rule, and "Ghost Bakery," a romantic comedy about a young baker and a ghost set in 1960s Korea, are similarly grounded in Korean settings and emotions.
Park says his goal isn’t to promote culture, but to follow his creative instinct. Living in New York deepened his reflections on Korean identity and inspired him to tell stories based on what he knows best.
“I just want to tell stories that feel familiar yet strangely new to Korean audiences and unfamiliar yet strangely empathic to foreign audiences,” he said.
What's next after Tony win?
Despite the glow of his Tony win, Park says it hasn't drastically changed his day-to-day life as a writer. What it has offered, though, is a quiet sense of closure and accomplishment.
“I don’t think much will change in my life as a creator. But I do feel a sense of fulfillment in having brought this long, marathon-like journey between Seoul and New York to a meaningful close.”
"Il Tenore" and "Ghost Bakery," which both premiered in Korea and are being prepared for Korean revivals, are also in the early stages of developing English-language versions. Park and Aronson plan to revise the book and lyrics in English, with hopes of bringing the shows to U.S. stages. But the project goes far beyond simple translation.
“We need to find the right producers and directors. It’s a complicated, long-term process," he said.
Beyond theater, Park hopes to return to a personal project that’s long been on the back burner: a short film about a Korean couple living in New York.
“I really want to make it before the urge to tell that story fades,” he said.
Jeon Mi-do, left, as Claire and Jung Moon-sung as Oliver in a scene from the 2020 production of "Maybe Happy Ending" in Korea / Courtesy of CJ ENM
Park is also keeping close ties to the Korean theater scene. In October, the 10th anniversary production of “Maybe Happy Ending” in Korea will go on stage, moving to a larger venue at Doosan Art Center — a decision made before the show's Tony win — and featuring updated visuals to suit the new space. Park also shared that there’s a possibility some previous cast members may reprise their roles.
“This 10th anniversary production is not just for me and Will,” he said. “It’s for everyone who has been part of this journey over the past decade and especially for the audience who supported and connected with this story. We’ll do everything we can to make it a joyful, meaningful celebration for all.”
He is also working on a yet-to-be-announced television drama and hopes to continue introducing meaningful international works to Korean audiences not just as a translator but as a director, following his directorial debut in 2024 with the play “The Sound Inside.”
“As long as I still feel the impulse and desire to tell a story or share a piece of music, I want to keep working with sincerity and consistency — as a creator who stays the course,” Park said.