InterviewKorean musicals can resonate beyond border, says Broadway producer

Rachel Sussman delivers a lecture during the 2025 K-Musical Market at PAYCO Hall of Link Arts Center in downtown Seoul, June 2. Courtesy of KAMS

At the Link Arts Center in downtown Seoul, as Korean and international producers and creators gathered for the K-Musical Market's annual showcases and pitches, Rachel Sussman — Tony-winning Broadway producer and co-founder of The Business of Broadway — took the stage with a clear message: Korean musicals are closer than ever to finding their place on the international stage.

When Sussman first partnered with the Korean Arts Management Service (KAMS) in 2022, the goal was to foster mutual understanding between Korean creators and the American theater industry. Four years later, that partnership has produced workshops, showcases and now, a growing optimism that Korean musicals — if attuned to universal themes and cultural nuances — could soon become a regular part of the global theatrical circuit.

"My organization, the Business of Broadway, which is an educational initiative in New York, began a partnership where producers from the KAMS program would come to New York and we could teach on how the Broadway business operates from the producer's perspective,” Sussman told The Korea Times during an interview Thursday.

“And we have done that successfully for the last three years and are now preparing for our fourth partnership together. And we also help to produce some of the KAMS works that are developed in Korea in New York, as readings and works in development.”

Beyond education, the collaboration evolved into a creative production pipeline as Business of Broadway played a key role in helping KAMS-supported works reach New York audiences through developmental stages under the initiative “K-Musical Roadshow.”

For example, "L'art Reste," a Korean musical revolving around Kim Hyang-an, a modern woman who inspired poet Yi Sang and painter Kim Whan-ki, received a reading in 2023 and a concert-style presentation in 2024.

“I think we are seeing it is possible for Korean musicals to translate effectively in New York,” she said, citing the success of “Maybe Happy Ending,” now nominated for 10 Tony Awards. “And if that musical wins, I think it will just create more excitement and opportunity around the K-musical-Broadway relationship.”

Korean musical "Story of Aesops" presents a showcase at PAYCO Hall of Link Arts Center in central Seoul as part of the 2025 K-Musical Market, Wednesday. Courtesy of KAMS

Balancing specificity, universality

With Korean content increasingly making headlines around the world, the global enthusiasm for Korean culture could provide a new momentum for Korean musical theater to reach audiences beyond their borders — despite the inherent challenges of live performance.

“We in the United States know and listen to K-pop, which means if a K-pop idol comes to the U.S., we’re going to have a big audience that shows up. So, I think we are paying far more attention and looking toward what art is coming out of Korea,” Sussman said.

When considering which Korean musicals might resonate best in the American market, Sussman emphasized the necessity of universal appeal — even within culturally specific stories.

“I think that you can absolutely create a very specific Korean story, but as long as it has universal themes, it can translate,” she said.

Using “Maybe Happy Ending” as an example, she noted, “Even though it takes place in Korea, it’s a love story between two robots and we’re rooting for them, because we too know what it is to fall in love. It’s a very clear, simple story and you can get on board with it.”

A scene from "Maybe Happy Ending" on Broadway / Courtesy of Matthew Murphy and Evan Zimmerman

Among the pitches she saw in Seoul, Sussman saw global potential for “The Granny Poetry Club.”

“I thought this actually is the kind of show that could potentially … have a global reach,” she said. “Because I think an American audience can empathize with these older women who were not given the opportunity to learn to read. That’s a very universal story, right?”

Yet differences remain significant in theatrical tastes between Broadway and Korea’s theater scene. Broadway has increasingly embraced diversity, featuring smaller-scale, unique productions, while large-scale spectacles still dominate many mainstream Korean theaters. Asked how Korean shows aiming for international success should navigate this difference, Sussman emphasized the importance of partnerships.

"So I think it’s very important, just as I would if I were creating a musical in Korea, I wouldn’t jump right in. And I would want to understand the process and maybe have either a partner or consultant who can guide them along the way," she said.

"Much of it starts with the relationships. Finding a partner in America who stylistically understands the show, believes in the show and wants to help translate it for an American audience — not just the language itself, but to make sure the production will resonate."

Participants of the 2025 K-Musical Market hold one-on-one business meetings to discuss the overseas expansion of Korean musicals at Link Arts Center in central Seoul, Tuesday. Courtesy of KAMS

Cultural sensitivity is key

Cultural appropriation is an issue that often receives less attention in Korea, where creators frequently adapt stories of real-life foreign figures with limited input from the cultures being portrayed.

Addressing the matter of representation and authenticity, the Broadway producer underscored how sensitivity to cultural appropriation is critically important in the American context, particularly when adapting historical or culturally specific narratives.

“In the United States, if you’re going to tell a story about the civil rights movement, it would be very challenging to do that without ensuring that the Black experience is represented on the leadership team, so that it feels authentic,” she said.

“Because the American population is so diverse and our audiences are so diverse, we want to ensure we are authentic in our representation of a certain community or culture on stage, because we know those individuals are likely to be in our audience.”

For Korean creators looking to bring their work to the U.S., one possible path forward is through nonprofit theaters, which are often more open to new voices. However, even those spaces come with financial demands.

“Nonprofit theaters program their seasons far out and often partner with commercial producers for musicals because it’s very expensive (to produce a show) — even in the nonprofit space,” she said.

“If you’re going to connect with a nonprofit, you must understand that nonprofit’s mission, the aesthetic of the work they do and why your show would be a good fit there.”