The National Theater of Korea (Acting Director Kim Seok-il) is set to premiere 'Ong Ong Ong,' a musical play that reinterprets the classic Joseon-era novel 'Ong Go Jip Jeon' with a contemporary sensibility. Running from September 3 to 6 at the National Theater's Daloreum Theater, this barrier-free production features both disabled and non-disabled actors. It promises a delightful exploration of fixed identities and the meaning of existence, humorously delving into the stories of diverse 'Ong Go Jips' in modern society.
National Theater of Korea Presents Classic 'Ong Go Jip Jeon' as Barrier-Free Musical
The National Theater of Korea is set to stage the musical play 'Ong Ong Ong' from September 3 to 6 at its Daloreum Theater. Based on the anonymous late Joseon-era classic novel 'Ong Go Jip Jeon,' the play tells the story of the greedy and stingy Ong Go Jip, who loses his life to a magically created impostor before repenting his mistakes and reclaiming his original existence. This traditional tale, one of the twelve classic *pansori* (Korean narrative singing) stories, has been reinterpreted in various forms, including *yeonhui* (traditional performing arts) and *changgeuk* (Korean opera), drawing from different novel versions and historical records.
'Ong Ong Ong' is particularly notable for being a barrier-free production, featuring both disabled and non-disabled actors on stage. The National Theater has consistently presented barrier-free performances since 2021, and this new work marks a significant effort to expand the spectrum of inclusive theater by adapting a Korean classic. This initiative is part of the National Theater's broader commitment to ensuring wider public access to cultural and artistic experiences.
A Journey to 'The Real Me': Unique Direction and Dramaturgy
The script and direction for this musical play are a collaborative effort by writer Seo Dong-min and director Kang Hoon-gu, who previously worked together on the play 'Dried Chili and Peach-Scented Lipstick,' earning the Young Theater Award at the 61st Baeksang Arts Awards. Seo Dong-min adapted the original narrative and structure into a cheerful musical play that resonates with contemporary sensibilities. Director Kang Hoon-gu guided the production with his philosophy that "the more serious the story, the more cheerfully it should be presented, allowing the audience to maintain an appropriate distance while still immersing themselves in the narrative."
Director Kang incorporates the Buddhist concept of 'emptiness' (*gong*) into the work, prompting fundamental questions about fixed identity and the meaning of existence. Dramaturge Go Ju-young connects the concepts presented by the writer and director with the discourse on disability, expanding the original character of 'Ong Go Jip' to represent numerous other marginalized figures in society, such as runaway youth, irregular workers, refugees, and disabled individuals. Through this approach, 'Ong Ong Ong' aims to foster empathy as a story for everyone, delving deeper into the process of discovering one's 'real self.'
Diverse Music, Special Cast, and Thoughtful Audience Care
The musical group Sanggajaru is responsible for the play's music, freely blending traditional and contemporary styles to maximize its satire and humor. The members of Sanggajaru directly participated in composition, music direction, and performance, bringing their unique, whimsical, and lively musical world to the stage. Their live band performances, combining traditional Korean sounds with genres like rock, hip-hop, and techno, promise fresh entertainment for the audience.
The cast also features unique talents. Actress Kim Yu-nam, who gained attention for her appearance in AKMU Lee Chan-hyuk's second album track 'Vivid Lalalove' music video, takes on the role of 'Real Ong' (Silongga). The role of 'Fake Ong' (Heoongga) is alternately played by Chu Da-hye, vocalist of Chudahye Chagis (winners of the 'Album of the Year' at the 2026 Korean Music Awards), alongside Kim Sol-ji, Ryu Se-il, and Ji Hye-yeon. Notably, Ji Hye-yeon, a deaf actress who majored in vocal music, has made extraordinary efforts to perform singing and acting in a musical for the first time in 10 years since losing her hearing. This includes exploring optimal vocal ranges and musical expressions through her cochlear implant.
To uphold the spirit of barrier-free performance, five sign language interpreters are participating, providing dedicated "shadow interpretation" for each actor, moving in sync with them. This ensures that deaf audience members can fully grasp the play's unique narrative structure, even when an actor portrays multiple characters. Additionally, real-time subtitles and audio descriptions delivered via receivers are provided, demonstrating meticulous care to ensure all audience members can comfortably enjoy the performance.