‘Swag Age in Concert’ brings Joseon flair to London’s West End
Cast members of "Swag Age in Concert" pose in front of the Gillian Lynne Theatre in London, where the condensed concert version of the Korean musical "Swag Age: Shout Out, Joseon!" was staged on Monday. Courtesy of PL Entertainment
LONDON — The Gillian Lynne Theatre rang with a defiant “Oh-eh-oh!” on Monday night as “Swag Age in Concert” made its U.K. debut. For one night only, London audiences were swept into an imagined Joseon-era world where free expression was banned and poetry became an act of rebellion.
The Korean musical “Swag Age: Shout Out, Joseon!,” condensed from its full 170-minute version, was staged on a bare set, giving full focus to the performers. At times this meant captions were hard to follow alongside the fast-moving action, but the show’s energy lay elsewhere, in the blend of music, movement and character.
Acrobatics and ensemble movement helped fill the space, with performers leaping across the stage and weaving through the audience, keeping the atmosphere playful and unpredictable. Traditional Korean instruments like the piri (a double reed instrument) and gayageum (zither) were fused with rap and hip-hop beats, while the choreography mixed hip-hop, locking and breakdancing with traditional Korean rhythms.
That balance between modern and traditional was also reflected in the costuming. Distinct hanbok (traditional Korean clothing) designs marked different social classes, with colorful variations seen during the sijo (poetry) competition. The black hanbok, evoking the lines of modern techwear or street fashion, was a particular hit, with some in the audience later saying they could imagine it on a runway.
The variety of songs gave the evening texture: a heartfelt father-daughter duet, ensemble numbers contrasting nobles and peasants, playful solos and comedic interludes. The sijo competition sequence was one of the most memorable, somewhere between Korea’s long-running “National Singing Contest” and hip-hop survival reality “Show Me the Money.”
A female trio’s playful performance stood out for its contrast with the rest of the show, offering humor and surprise. The show also played with language and style, from the use of regional dialects to a comic turn mimicking a Japanese warrior, a moment that drew big laughs from Korean spectators, though it may have puzzled some foreign viewers.
It was a heartwarming evening overall, punctuated by moments of slapstick comedy and contemporary references that sat alongside the heavier themes of resistance and freedom.
Cast members of "Swag Age in Concert" pose in front of St. Paul's Cathedral in London. Courtesy of PL Entertainment
Producer Song Hye-sun of PL Entertainment described the project as a chance to highlight the spirit of young Korean creators.
“I was deeply proud of the free and confident spirit of young Korean artists. Korean artists have evolved by transforming difficult times into art, and now they are calling for freedom and peace for a new world,” Song said.
Choreographer Kim Eun-chong emphasized that the aim was to go beyond spectacle.
“We wanted to capture the emotions and aesthetics unique to Korean dance, combining the traditional sense of breath and rhythm with contemporary movement. If audiences can embrace that as part of Korean culture, rather than just something exotic, that would be our greatest success,” Kim said. That ambition came through most clearly in the masked dance scenes, where the ensemble filled the theater with both power and precision.
Music director Lee Jeong-yeon reflected on the use of traditional instruments within contemporary scores.
“I hope the audience experiences the charm of Korean instruments not as difficult or unfamiliar, but as fresh and familiar.”
The combination of sijo rhythms, folk textures and hip-hop beats proved to be the show’s driving force. The music and dance were where “Swag Age” shone brightest and left the strongest impression on the stage in London’s West End.
Cast members of "Swag Age in Concert" pose against the backdrop of the London Eye in London. Courtesy of PL Entertainment
Writer Park Chan-min explained why sijo became the foundation of the piece.
“Nobles in the musical follow refined sijo structures, while the rebels use rougher, more rhythmic variations. The language itself becomes a character, shaping both personality and story,” Park said.
On stage, that contrast made the divisions between classes clear while adding wit and rhythm to their exchanges.
The audience reactions said it all. One spectator described the show as “moving and absorbing,” while others praised its energy and the universality of its message. Several noted that the theme of class division would resonate with audiences anywhere. A few also wondered whether introducing more contemporary Korean pop culture references in the future might help broaden its appeal, while others said they valued the emphasis on traditional elements. The standing ovation at curtain call underlined the warmth of the reception.
“Swag Age in Concert” was more than just a Korean show abroad. It was a proud moment for Koreans in London and an invitation for international audiences to discover a different side of Korean creativity. As show producer Song noted, “It means the most to us that audiences around the world can relate to our story, find comfort and enjoy the performance.”
Judging by Monday night, that journey is only beginning, with a resounding “Oh-eh-oh.”
Jiji Ahn is a London-based journalist who covers both cultural and political stories with a focus on Korea. She reports for BBC News and previously worked for CNBC International and NBCUniversal. Fluent in Korean, she provides reporting and analysis on Korea’s role on the global stage.