The Korean National Ballet is presenting its second run of choreographer John Neumeier's "The Little Mermaid," featuring principal dancer Cho Yeon-jae reprising her role from last year's premiere alongside Kim Byeol, who makes her debut in the title role after serving as an understudy. The narrative ballet runs from Wednesday through Sunday at the Seoul Arts Center, bringing Hans Christian Andersen's beloved tale to life through Neumeier's distinctive choreographic vision.

During recent rehearsals, long blue fabric swayed like a mermaid's tail across the stage, creating rippling effects through the air as two dancers of the Korean National Ballet moved tirelessly in pursuit of portraying the most innocent love. The production presents unique physical challenges for the performers, who must master the art of graceful movement while wearing wide, long, and slippery tail-like pants that require precise technique to manipulate effectively.

Both dancers described the difficulty of simply walking in their elaborate tail costumes during interviews with The Korea Herald. "I've developed this strange new skill for kicking it properly," Cho explained. "Even so, I tripped a lot at first – sometimes stepping on my own tail, sometimes someone else stepping on it, or getting tangled around legs and arms." Kim added that despite careful preparation, the costume elements seem to have a mind of their own, noting, "My legs have gotten plenty of bruises. There's always a chance it won't go the way I want. It's nerve-wracking."

Neumeier's ballet adaptation draws from Andersen's 1837 story while incorporating autobiographical elements of the author's own experiences with unrequited love. The choreographer explained the deeper meaning behind the work at a press conference in Seoul last year, stating, "The story teaches us that no matter how much we may love someone, this does not make the other person responsible (for loving us)." This interpretation adds layers of emotional complexity to the mermaid's journey from sea to land.

The physical demands of the production extend far beyond mastering the tail movements. The arm choreography diverges significantly from classical ballet's elegant arcs, instead requiring dancers to create port de bras that ripple and wave as if moving underwater – movements that are delicate, fluid, and almost primitive in their muscular expressiveness. To perfect this technique, Kim took her preparation to unusual lengths by practicing in a swimming pool. "I tried moving my arms underwater to feel the resistance – how slow and heavy it is. I wanted to bring that sensation into my dancing," she explained.

Cho approached the underwater movement challenge differently, focusing on finding the right balance between control and natural flow. She recalled that last year's rehearsals involved constant corrections of her arm movements, so this year she practiced extensively in advance. However, the directors told her she was moving too precisely. "I had to keep reminding myself that underwater you wouldn't move that fast. So I focused on moving more slowly, as if suspended in water," she said.

One of the ballet's most striking and challenging scenes depicts the mermaid's transformation as she trades her tail for legs, after which she must walk on land in agony. Cho approaches this scene by "imagining a child just beginning to walk, unable to fully control their limbs. I want to bring that awkwardness." Kim's preparation involved studying videos of newborn calves, explaining, "They're wobbly, unsure. I tried to imitate that. I even thought, maybe getting actual blisters would make the pain more real."

Both dancers have been deeply immersed in Neumeier's choreographic style this year, having taken on major roles in his "The Lady of the Camellias" earlier in the season – Cho as Marguerite, and Kim as both Olympia and Manon. This back-to-back experience with the same choreographer's narrative ballets has given them unique insight into the demands of dramatic dance storytelling. "In drama ballet, you can't let the thread of emotion drop until the curtain falls," Cho observed.

Kim emphasized how the emotional demands of narrative ballet create an ever-evolving performance experience. "Your emotions guide your movements, so they change every rehearsal, every night, little by little. I think that's why I love it. That's the beauty and the art," she said. Both dancers have identified specific moments in the ballet that resonate most powerfully with them as performers.

For Cho, the emotional peak comes during the climactic pas de deux with the prince. "In the pas de deux with the prince in the pink dress at the climax – from the scream to the final scene – everything I've built from Act I comes pouring out," she described. Kim's favorite moment occurs earlier in the ballet, in a scene marked by silence and internal revelation. "After rescuing the prince and moving him ashore, my mermaid sisters call me away. I start to follow but I can't. I turn back to him. That stillness there – every time, it hits me. It's the moment I realize I truly love him."

Cho, who was promoted to principal dancer earlier this year, has established herself firmly among ballet fans and remains mindful of the responsibilities that come with her elevated position. "I know my weaknesses better than anyone. I want to grow into someone worthy of the title," she reflected. "With each role, I learn so much. I can feel changes in my body and technique. I want to keep improving and be the kind of dancer who surprises every time."

For corps de ballet member Kim, who is the company's youngest dancer, this production represents her second lead role in Seoul following her performance in December's "The Nutcracker." She articulated her artistic aspirations, saying, "I want to be an artist who moves not just with technique but with genuine emotions – someone who can share that sincerity with the audience and move their hearts." The production offers both dancers an opportunity to showcase their growth in the demanding world of narrative ballet while bringing Neumeier's interpretation of this timeless story to Seoul audiences once again.