~:[CH11 - Day 344]:~ The (UN)Standard
Instead of a typical message, I decided to use this time to write an opinion piece on the musical KPOP. While it may not immediately have an impact on its performance since its final performance is sold out, I am hoping that in the future, the show will be revived and allow for so many more people to experience this groundbreaking Broadway musical. About a week ago Jesse Green wrote a critique of the show and in the introductory caption, he got it wrong. "The worldwide sensation and American-style musical theater form an awkward alliance on stage," he wrote. Yes, KPOP undoubtedly is a worldwide sensation that the buzz within my class often centers around the conversation. While not all my students are into KPOP, Korean dramas and culture definitely have influence in the community where we are from and the circles I traveled to, including in Japan, other parts of Asia and Europe recently, shared the same wave of Korean influence. Why did I say the writer got it wrong from the start? It's not suppose to be an American-style musical theater, it's suppose to be something new and refreshing. I watch a lot of musicals. To give you an idea, I've seen Wicked the musical between New York and Los Angeles over thirty times, watching Wicked EVERY year on Broadway since it opened. From the classics of Phantom of the Opera to the dark mystique of Chicago and the more interactive and energetic Mamma Mia!, I've definitely tried to explore as many as I could. It was helpful that I happen to know a few who were in various shows such as Allegiance, Book of Mormon, and Hadestown, among others.
They all have their own charm to them and undoubtedly, given time, KPOP would probably be something that would have taken off. Why is it not suppose to be an American-style musical theater stage? Despite his slightly-racist comment in the New York Times critique of the lighting being "squint-inducing" referring to lighting done by an APPI (which they declined to apologize for), if you knew anything about KPOP going in, this stage was going to be styled after KPOP itself. The shows are flashy, eye-catching and bring energy to the crowd and even more so tonight, the energy filled the theater. I have never felt so much emotion and energy in a theater. The dances were on point and I overheard the girl next me whisper to a friend at intermission, it feels like I'm at a real concert. This was before ACT II which houses some of my favorite songs.
The musical is also relatable. As Brad struggles with the struggle of not being American enough or Korean enough, I struggled with the same issue. While I am ethnically nearly full Japanese, I was born and raised near Los Angeles and never took Japanese school. I was intrigued by the language and so I dabbled in it, but never picked it up and even now, although I do photography and art in Japan part time, I don't speak enough Japanese to hold a solid conversation. Strangely enough, my conversational Korean is a bit stronger. Regardless, growing up, I faced the same struggle and although I was lucky to have a fairly tolerable surrounding growing up, I still faced the same racist comments. While the New York Times refused to apologize for their writer using "squint-inducing" in their article, no matter how unintentional it was, it opens a chest of moments where I had to face those very comments or gestures growing up. No matter how slight, still cut deep and even more so when I see my students facing those comments, while rare, it happens.
KPOP is often associated with the glamour and the amazing songs and performances, however, while known to many who enjoy KPOP, it's great that this struggle of what artists suffer is portrayed through this musical. Knowing a few people who went through the trainee struggles and even the day-to-day of being a KPOP idol, I know second-hand how much of a struggle it is. From the long hours put in that may not even lead to a debut, to the obstacles they must overcome, the mental stress of it all, and even the limitation placed are all things an artist must deal with. I really connected when MwE was not able to sing the song she wanted to. Ruby placed a lot of limitations, but it paralleled the realities of the life of an idol. I think that despite what the critic believed, the realities of this definitely make you realize the difficulties that come along with being a top star. The backstage video also cleverly portrayed what is actually show to us as an audience versus what actually goes on. They gave us a glimpse into something we should never see (according to the company's viewpoint). I think the Nam brothers did a great job allowing idols to convey their struggles with their fans, allowing fans to see a more human side to their idols.
The idea that many would not enjoy it because they do not speak Korea further magnifies the issue with the writer. The story loses its authenticity when you take out the Korean lines and many of the lines in Korea are understood via context clues or are repeated in the response of the next (or previous) line, Of course, when you have someone with no knowledge of KPOP or the Korean language, it would be safe to assume their critique could erroneously overlook this fact. There are many other musicals I've seen where a foreign language is used and even in Wicked where the words do not even exists. We still understand them. Even in a musical like Hamilton, which is brilliant by the way, there are moments where I do not complete comprehend the exact line they are saying, but it doesn't mean that line still can't be impactful. I think it's similar to KPOP fans. Many know the lyrics to the groups they stan, but even when they don't know the language or the words they hear, it inspires them to learn more about language and the culture. Couldn't KPOP not only inspire a new audience to explore KPOP, but also explore the culture of Korea?
Hearing the cast talk about the musical via social media and even hearing their speeches today during the amazingly wonderful AAPI event between shows, I can see how much this means to the cast members and with how many people showed up, many of which were not going to today's performances, I know it means a lot to the general public as well. Sadly, when the influx of visitors begins to increase again and they start to explore musicals beyond the top end shows, for now, there will not be a musical and culture experience called KPOP waiting for them. I was hoping that many of my friends, family and even students would get a chance to experience this wonderful show, but sadly, it will not be the case. Much like I felt like Allegiance should have continued, I feel that this show also is one that needs to continue on. I will do my best to play a role in its revival if it's given a chance as I truly feel that it's a musical that can definitely be one that not only entertains, but also introduces people to an amazing world and culture they may never knew existed, while also teaching those who already know about KPOP, about the struggles and pressures their idols already face on a daily basis.
For now, I sit at the airport on this crazy "day trip" journey, proud that I could support this cast on their final hurrah. I hope that I will be able to be posting again soon gaining support for them as we try to revive their musical, but for now, I will appreciate the fact that I was one of lucky few who was able to experience this musical, not just once, but twice. A Broadway critic may be right in their view if they consider what exists "the standard," but why can't a musical on Broadway not portray an American-style musical theater when you are trying to portray something that is a GLOBAL phenomenon. Broadway doesn't have to be limited, it can truly become limitless when you make something (Un)standard into the new standard.