Stolen sensation on Broadway: The globally celebrated pop concert musical

In the world of musical theatre, the line between tradition and innovation is constantly being tested. This is especially true when it comes to incorporating contemporary pop music into the genre.

Two recent examples of this trend are "Moulin Rouge!" and "& Juliet," both variations on the jukebox musical format that rely heavily on contemporary pop hits rather than the songs of a single author or performer. However, Broadway's relationship with domestic pop has been uneven, with no original pop musical since "Hamilton" matching its impact.

Meanwhile, the animated film "K-Pop Demon Hunters" has become a global hit by blending original K-pop-inspired songs with anime-style visuals and action sequences. Its success highlights the potency of the combination of international pop and musicals.

Netflix plans to adapt the film into a Broadway stage musical, leveraging its global popularity and unique K-pop and anime aesthetics. However, there remain challenges about how to translate its large-scale production and synchronized choreography to the smaller Broadway stage.

K-pop's fandom depends on sleek production, synchronized choreography, and stadium-scale visuals that Broadway's smaller houses cannot replicate. This was evident in the case of "KPOP," Broadway's first K-pop musical in 2022, which closed after just a few performances due to underwritten characters, a thin plot, and a departure from its immersive design.

In contrast, the Korean-American chamber musical "Maybe Happy Ending" transferred successfully to Broadway last season, resonating deeply with audiences due to its rich Korean culture and setting. It serves as a reminder that Broadway can embrace original works that originate overseas and remain rooted in another country's cultural context.

The problem of incorporating international pop into Broadway productions remains, with Broadway yet to make it a regular part of its vocabulary. This is despite depending heavily on international tourists to sustain the long runs of its biggest musicals.

Broadway's institutional constraints often clash with the use of recorded tracks for a karaoke-club effect, as seen in the case of "Here Lies Love," which immersed audiences in a distinctly Filipino cultural setting while drawing on the global disco sound of the 1970s, but failed to attract a sustainable audience due to institutional constraints and audience backlash.

The movie adaptation of "K-Pop Demon Hunters" may introduce kids to musical theater, potentially leading them to shows like "Maybe Happy Ending" and "Six," which plays more like a concert revue than a successor to "Hamilton."

In the past, efforts to bring international pop to Broadway have faced challenges. "Bombay Dreams," with music by A. R. Rahman, brought Bollywood spectacle to New York in 2004 but lasted just nine months. "Fela!" introduced Broadway to the Afrobeat music of Nigerian icon Fela Kuti in 2009, but was criticized for feeling undercooked as a piece of musical theater.

However, there are examples of success. "Here Lies Love," created by David Byrne and Fatboy Slim, immersed audiences in a distinctly Filipino cultural setting while drawing on the global disco sound of the 1970s. While it faced challenges, it demonstrated that with the right approach, international pop can find a home on Broadway.

As the world of musical theater continues to evolve, it will be interesting to see how Broadway navigates its relationship with international pop. The potential for innovation and cultural exchange is immense, and with the right approach, Broadway could become a platform for showcasing the best of global pop music.