To kick off AAPI Heritage Month we're featuring a reflection by Staff Writer, LeeAnne Nakamura, who discusses the recent musical, KPOP on Broadway, Asian representation on US stages, and celebrating cultural joy.
KPOP on Broadway had a historic run this past winter. As some of the creatives working on this musical described it, KPOP is a modern-day example of the “backstage musical,” following the fictional K-Pop groups RTMIS and F8, along with solo artist MwE, as they prepare for their New York debut. As the name suggests, KPOP pulls from the distinctive sound and style of the K-Pop genre through an original score by Helen Park, embracing the rising popularity of this genre in the U.S. and internationally. And while KPOP features an original score, rather than being a jukebox musical that pulls from the existing canon, several members of the cast have experience in this industry due to formerly belonging to an idol group
There are several ways someone may view KPOP as historic. For some, they will KPOP as historic for being one of the shortest-running Broadway shows (17 performances, not including previews), whether that be due to an ill-executed marketing plan, COVID related cancellations early in its run, or a particularly insensitive review. In a similar vein, for others it is because KPOP is one of two original musicals for the 2022-2023 season. Additionally, KPOP is historic for having a creative team that was largely of Korean and Asian descent, including Helen Park, who’s debut with this musical made her the first Asian woman composer on Broadway (and the sixth Asian composer ever on Broadway). And for making the space that resulted in 18 members of the cast having their Broadway debut. But for people like me, KPOP was historic for telling the first Korean story on Broadway, supported by an almost fully Korean and Asian American cast.
While I have yet to dive into the world of K-Pop, I was drawn to this musical due to the largescale Asian representation I had been looking for in both the general theatre world and on Broadway. As I began to learn more about this musical, I championed it and hoped this musical would succeed in sharing the important sentiment that there is a space and a place for members of the AAPI community on Broadway. From what I could gather online about KPOP’s narrative, the tropes and storylines commonly associated with Asian characters in classic Broadway musicals are miraculously absent, likely due to several members of the creative team being of Korean and Asian descent. Despite how messy the music world can be, there is no white savior that swoops in to resolve each idol group’s conflicts. KPOP steered clear from exoticization and orientalism through countless design choices, from the minimalist use of props to the costumes reflective of the look and style of countless K-Pop groups.
The Hanbok, Cheongsam, and Kimono are not a part of any characters’ wardrobe, two of which would be very out of place in a Korean-centric story anyways. Or, if I am mistaken, then they are worn for their traditional purposes and with respect, not because that is the most identifiably Asian look or because we surely wear those every day, (cough cough The King and I). Gone too are the rags of Miss Saigon that symbolize the hardships and poverty-stricken conditions of wartime.
From the production photos I’ve seen, the costumes honor the varied styles of K-Pop groups: colorful ensembles matched with equally contrasting patterns, outfits composed of pieces that could be worn for everyday occasions, and elaborate looks that belong onstage to be admired. While every member may not wear matching outfits, there is a cohesiveness in terms of the overall look of the group during a specific number. And in the scenes that take place away from the stage or dress rehearsals, there is a clear delineation between the outfits they wear for a performance and what they would wear for a day in the recording studio.
"One reason that the story of KPOP interested me was because it told an Asian-centric story that did not revolve around war and trauma."
One reason that the story of KPOP interested me was because it told an Asian-centric story that did not revolve around war and trauma. With KPOP’s focus on the industry currently built on producing these idol groups, there is a different focus on the hardships and rigor of work these characters must overcome. Brad, a member of F8, comes into contention with his other group mates as he navigates his Korean American identity. Mina Kim (stage name MwE) struggles with her popularity as the star of her recording label while wanting a quiet, simpler life with her boyfriend, Juny, who is not a part of this world. Those are only two examples, yet they speak to the struggles of identity and the balance between working for a dream or living in one’s present happiness.
KPOP presents its characters as multi-talented artists and pop stars. For one of the first times onstage, characters written specifically for Asian actors starred as these highly identifiable idols, at last in the center of attention. To me, MwE and the members of F8 and RTMIS were not characters that stirred pity, but pride. They put their dedication into their art, which has specific ties to Korean culture, as they are preparing for a concert that will bring their art to a larger, Western audience, echoing the work done by the creative team for this musical. These are characters that a young, Asian audience member can look up to and say, “They look like me. I want to be like them in the future.”
Photo Credit: Good Morning America
Another reason I want to celebrate and uplift KPOP is because of the positive representation this show brought to telling one story in a sea of many about the Asian experience. In recent times, that sea includes Allegiance, Cambodian Rock Band, and Soft Power, all musicals that center on Asian or Asian American experiences. And of those three, only one made it to Broadway (at least at the time of writing this). While I would argue each show contributed towards a more positive portrayal of Asians, their stories still involved aspects of dealing with the aftermath of war and generational divides between parents who were raised in a traditional way and their children raised in a different culture. For example, Cambodian Rock Band follows a father, who survived the Cambodian Genocide, returning to Cambodia 30 years later with his daughter as she is assigned to prosecute one of the country’s most notorious war criminals. With this musical, there is a move away from setting the musical directly during the events of this genocide, but its presence and affects continues to influence the story being told. However, in KPOP having a narrative that does not ignore history, but instead focuses on a different aspect of the country/culture, or its internationally recognized music industry, these characters and the story can explore life through the focus of making music that touches others.
Since I did not see KPOP during its Broadway run, perhaps I am building up a picture or idea of what I believe this musical is or what I want it to be that is not entirely accurate. But when there are so few examples of Broadway musicals telling Asian stories, let alone authentic Asian stories, it is hard to not focus on the positives and celebrate the accomplishments of this musical during its Broadway run. Right now, I choose to view KPOP as a musical that embodies many of the aspects that I hope to see represented in future shows: an Asian-centric story that is not overly dramatic, that uplifts its characters, putting them in roles that go against common tropes or stereotypes, is supported by a cast and crew of Asian and Asian American descent, and is filled with Asian pride.
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