Foreign Musicals Dominate Local Scene
By Chung Ah-young
Staff Reporter
``There's No Business Like Show Business,'' an Irving Berlin song written for the musical ``Annie Get Your Gun,'' is a salute to the glamour and excitement of a life in show business. It's not all about profitable success, but also the artistic passion of the creators.
But recently, the phrase seems to have lose its shine at least in the local musical industry, which is leaning toward commercial accomplishment rather than artistic endeavors.
In recent years, foreign licensed musicals such as ``Cats,'' ``My Fair Lady'' and ``Mamma Mia!'' have hit the stage on large theaters and at the same time reigned at the top of box offices and graced actors' and producers' resumes.
More high-profile musicals, such as the multi-Tony award winning ``Billy Elliot,'' and ``Spring Awakening,'' are waiting for their upcoming local debuts.
Also, the U.S.-Korean joint production, ``Dreamgirls'' has escalated the local musical production capacity level to international standards, receiving rave reviews both from at home and abroad for its high-tech stage set, alluring costumes and stunning performances.
Then, what's wrong with the dominance of the foreign musicals? It leads to soaring ticket prices. The ticket prices of Korean musicals are on average $142 compared to $121.50 in the U.S. and $81.10 in Japan.
The expensive tickets result from the structure of the imports in the local musical industry. Local musical production companies fiercely vie to get a license for foreign musicals. But it enables only large-sized entities who can afford to pay expensive royalties to monopolize the market, which will ultimately endanger the balance of the performing arts market as a whole.
Why do producers and investors stick to foreign licensed musicals? American playwright Will Kern who works in Korean musicals and plays in Seoul said that musical producers do not seem to appreciate local talent. ``There are gifted musical writing teams here that would make a mark on the world stage if given half the chance, but it would take somebody with some real guts and vision to give them that chance,'' he said.
He said that sadly, producers see local talent as a risk, and most producers are risk averse. They look at musicals like ``Chicago'' and ``Mamma Mia!'' as vehicles with track records that have already proven their marketability through massive worldwide tickets sales or they see already-popular Korean movies like ``200-Pound Beauty'' as safe bets because of their enormous built-in audience recognition.
As homegrown big-budget musicals such as ``Dancing Shadows'' and ``Janggeum, The Great,'' failed to win the hearts of the public despite enormous budgets, major production companies turned their eyes to proven and reputed works such as film-based and foreign licensed musicals.
But Kern shed a different perspective on the Korean musicals. ``Something like `The Brothers Are Brave,' an outstanding Korean musical, found its way to the local stage and is at the beginning of what should be a long run, but it is the exception rather than the rule,'' he said.
The reason why producers avoid creating a new local musical naturally comes down to money, Kern said. Producers put their money on what they think will make a good return on their investment, and for many, that means trudging out ``Grease'' or ``Rent.''
There is nothing wrong with that, but it can be career-crippling for Korean artists who are as talented and deserving as their American and British counterparts, and need a break. ``Producers should nurture the talent and give them that break, if for no other reason than the artists' commercial potential,'' the American playwright said.
He argued that producers should realize that there is big money in having a crossover hit in the U.S. or Britain. ``Korean musicals are at least equal to what comes out of these countries. It is ridiculous to think that Korean artists cannot compete in the genre,'' he said.
If a Korean musical becomes a hit in New York, then chances are high it will be a hit around the globe. But it will take a producer with vision and a belief in Korean artists to make that happen, the playwright said.
``And without faith in the artist, the quality of the Korean musical can only suffer. Why should a talented composer spend his time writing a musical that will never be produced or considered? What would have happened to Andrew Lloyd Webber, had he been Korean?'' he said.
Although the failed landmark, ``Dancing Shadows'' was a big flop, it taught many producers that big budget and foreign creative teams don't guarantee the success of a musical.
Fresh ideas and storytelling power, which now serve as the strong drive behind long running homegrown musicals such as ``While You Were Sleeping'' and ``Finding Kim Jong-wook,'' and lately ``Bachelors' Grocery Store,'' are essential to produce a good musical.
Park Seo-yeon, manager of the musical production company of musical ``Bachelors' Grocery Store,'' said that many low-budget musicals staged on small theaters suffer a lack of production expenses, which can hardly meet the rent for the halls.
``Many investors and sponsors don't want to support homegrown musicals. So those for small theaters have to cut prices to compete with them. We cut ticket prices from 35,000 won to 10,000 won,'' she said.
Park said that the polarization in the musical production circumstances worsens every year. ``Many small production companies are going bankrupt every year. Even if homegrown musicals have good quality and content, investors just regard them as a big risk,'' she said.
``Bachelors' Grocery Store'' was first staged in September last year and launched its second season this year. It has gradually garnered popularity by word of mouth for its fresh and rare subject ― local vegetables. The musical depicts the dreams and despair of young men who sell vegetables.
Park said that almost 80-90 percent of seats are occupied weekdays and almost 100 percent of seats are taken on weekends. ``Many low-budget musicals are well made and have fresh ideas and content enough to beat foreign blockbusters. But many of them are buried before bearing fruit because they cannot break even,'' she said.