and Directed by KIM Min'Gi
Based on original script by Volker Ludwig's <Linie 1 - Musikalische
Music by Bireger Heymann
Time & Date: Open-run
Weekdays 7:30pm, Sat 4:00pm, 7:30pm, Sun/Public holiday 3:00pm, 7:00pm
No Performance on Monday, 2005. 1. 1- 1.13
Venue: Hakchon Green Theater
Ticket Price (KRW) : Adult 28,000Won Student 22,000Won
Running Time: Approx 2hrs 40mins incl one intermission
Sung and performed in Korean with Japanese Subtitles (Tue, Thur, Sat)
and English Subtitles (Wed, Fri, Sun)
"A rock musical that rewrote the history of Korean theater"
- Berliner Morgenpost "At the end of the show, one feels completely overwhelmed.
A riveting story, beautiful music, and outstanding performance-everything
is still so vivid." - Beijing Times "The Korean musical Line 1 gave us pleasure beyond imagination"
- People's Daily "The lives of people in Seoul today, struggling to survive
in a society full of
contradictions, are unfolded on stage before our very eyes. I think
I am beginning to
understand the secret behind the success of this musical.
- Asahi Shimbun
After 2,300 performances watched by more than 500 thousand spectators
for 10years - a record as of August 2004 - and progressive revisions
since its premier in May 1994, the rock musical <Line-1>, which
was adapted and directed by Kim, Min-gi and produced by Hakchon, is
now widely considered
one of the most representative of Korean musicals.
<Line 1> shows the life of the Seoulites through the eyes of
an ethnic Korean woman named 'Fairy' from the Korean autonomous region
of Yenbian, China. She meets characters who represent the everyday
variety of people one can meet on an average day in Seoul: jobless
fathers, runaway daughters, men threatening to kill themselves, peddlers
of everything imaginable, self-styled street evangelists, and others.
They join together to recreate the Korean society we live in today
with humor and satire and make the show enjoyable for viewers of all
ages. Also its outstanding quality, which was achieved through many
times of revisions made for every year's performances to enhance the
level of reality and completeness of the show, is widely recognized
both at home and abroad.
Many of the show's cast including Bang, Eun-jin ("Rag" in
1994 and 1996), Sul, Gyung-gu ("Glasses" in 1994 and "Cheolsu"
in 1996, 1997, and 1998), Hwang, Jeong-min, Jo, Seung-woo, and Jang,
Hyun-seong have ventured into the screen world and occupied prominent
places. The show has also brought up and produced many musical stars
including Kim, Hyo-sook, Kwon, Hyung-joon, Lee, Jeong-hyun, and Lee,
Mi-ok. It is also the first Korean musical, in which actors and actresses
sing to an accompaniment played by a five-person live rock band, not
to a taped accompaniment. <Line 1>, though it is performed by
not a small number of players from 16 to 17, marked the earnest start
of small-scaled musicals staged in little theaters in Korea.
Setting a milestone in the history of Korean theatrical performances,
the show celebrated its 1,000th performance on February 6, 2000. Before
that, in January 1 of the same year, it made news as Volker Ludwig,
the author of <Linie 1 - Das Musikal>, the original work of
<Line 1>, fully exempted it from further royalties. The show
was greatly adapted from its original work <Linie 1> played
by the Grips Theatre Company in Germany to fit a uniquely Korean context,
and the author of the original work officially recognized the originality
of <Line 1> by declining to be paid any further royalties.
From 2001, with the belief that "intense feelings that touch a string in one's heart can overcome any language barriers" the show embarked on a world tour. From its first foreign performance in Berlin, Germany in April, 2001, it earned unrestrained praises from the press and critics and attracted
international attention. In October of the same year, it was staged in Beijing and Shanghai. It drew intense interest among the Chinese press and intellectuals and was highly acclaimed by the public as a work which reflects the agonies of today's Chinese troubled by the radical current of capitalism. It also held performances in Tokyo, Osaka, and Fukuoka in November under the sponsorship of the Japan Foundation. The tour in Japan reaffirmed the artistic success and quality of the show. It was viewed as a work
which revitalized and energized the Japanese circle of performance art.