Industry leaders and creators in Korea's thriving musical theater sector are calling for the urgent passage of a dedicated Musical Industry Promotion Law, leveraging the momentum created by recent international successes including a Tony Award win. The push comes as Korea's musical market continues its steady growth, though experts say legislative support is crucial for addressing longstanding industry challenges and protecting creators' rights.
At the Korean Musical Forum held at Hongik Arts Center in Seoul on September 2, Tony Award-winning writer Park Chun-hue emphasized that authenticity should take precedence over labels in defining Korean musicals. Park, who won the prestigious award this year for "Maybe Happy Ending," co-written with Will Aronson, questioned whether the definition of K-musicals should be the primary focus. "The identity of K-musicals will be determined by the audience, not the creators," Park stated. "For us, what matters most is delivering the work as it was intended, without distortion. When asked whether something is a Korean musical or not, I was frustrated because that has never been my focus. Nor was chasing success. My priority is simply to tell my story with integrity."
Despite advocating for creative freedom, Park joined the industry consensus supporting the Musical Industry Promotion Law currently pending in the National Assembly. Industry leaders argue that such legislation is essential for protecting creators' rights, introducing standard contracts, ensuring fair revenue distribution, and establishing a dedicated government agency to support the sector's continued growth. Shownote CEO Lee Seong-hoon reinforced this position, stating, "Industries develop according to what is stipulated in law. That's why musicals, like films, need their own dedicated promotion law. With the momentum created by the Tony Award, now is the time to act quickly and enact the law."
Intellectual property protection emerged as a particularly critical concern during the forum discussions. Ko Hee-kyung, a Hongik University professor and head of Hongik Art Center, expressed optimism that the Tony Award success would catalyze meaningful conversations about protecting Korean musicals' intellectual property rights. "If the promotion law is enacted, it would provide significant support," Ko noted, highlighting an area that has been historically neglected in Korea's musical sector.
The forum, organized by the Korean Musical Association, brought together actors and producers who emphasized that investment must extend beyond individual productions to support the people who sustain the industry. Veteran actor Park Eun-tae called for expanded training opportunities beyond traditional university programs, as well as mental health support and digital literacy programs for performers who face intense public scrutiny. Producer Kim Yu-cheol stressed the importance of adopting a more methodical development process, explaining, "Broadway is a brutally commercial environment ... which is why they take time – through workshops, labs and tryouts – before risking a full-scale production. We need that mindset here as well."
The Korean musical market's growth trajectory supports the urgency of these calls for reform. According to data from the Korea Performing Arts Box Office Information System, operated by Korea Arts Management Service, the musical sector recorded 1,587 productions and over 21,000 performances in the first half of 2025. This activity drew approximately 4 million ticket reservations and generated 237.6 billion won ($171.3 million) in revenue, representing steady year-over-year growth of 5 percent in sales and more than 8 percent in performance numbers, signaling a resilient recovery following the pandemic.
However, international comparisons reveal significant growth potential that could be unlocked with proper legislative support. Broadway attracted 14.7 million audience members in 2024 with revenues exceeding 2 trillion won, while London's West End drew 17.1 million theatergoers. Korean musicals currently attract roughly half as many audience members as these established markets, with ticket prices averaging 59,000 won per seat compared to $110 in New York. Jeong In-hye, head of the Performance Distribution Team at Korea Arts Management Service, identified this pricing gap as both a challenge and an opportunity, noting, "The audience base is expanding, but unit spending remains a bottleneck."
