First Korean sole lead producer on Broadway reimagines classic for today’s audience
By Kwon Mee-yoo

At the opulent Plaza Hotel in New York, amid the buzz of introducing the upcoming Broadway show "The Great Gatsby" on Feb. 13, Shin Chun-soo emerged as a pioneering figure amid the glitterati.

As the mastermind steering this ambitious project, Shin stands out as the first Korean to take the helm of a Broadway production as the sole lead producer, blending exhilaration with a profound sense of pioneering duty.

His presence was accompanied by dazzling performances of Jeremy Jordan and Eva Noblezada, who brought the iconic characters of Jay Gatsby and Daisy Buchanan to life, respectively, singing "My Green Light" from the show, setting the stage for the show's preview starting March 29 at the Broadway Theatre.

"The performance by Jeremy and Eva left a lasting impression on attendees, heightening the anticipation for 'The Great Gatsby's musical adaptation — a first for Broadway," Shin said, reflecting on the event's impact.

"Preparations for the production are well underway, and the cast and crew are working with enthusiasm and good energy ... Following a successful pre-Broadway, we sense a growing excitement for what's shaping up to be one of the spring season's most awaited productions."

Before heading to New York for the final stretch of preparations, Shin shared his pioneering journey and the broader implications for the global theater scene during an interview with The Korea Times at OD Company's office in southern Seoul in early February.

Shin is a renowned figure in the Korean musical theater industry with acclaimed productions like “Jekyll and Hyde,” “Man of La Mancha,” “Dracula” and “Death Note” under his belt. Recently, OD Company successfully premiered the Korean musical “Il Tenore,” which narrates the story of the first Korean tenor during the 1910-45 Japanese colonial rule, last December.

While Shin's reputation in Korea is well-established, his presence on Broadway is growing. For over a decade, he has been engaging with the theater capital of the world, starting his Broadway journey with “The Story of My Life” in 2009. Shin has co-led Broadway projects such as "Holler If Ya Hear Me" and "Doctor Zhivago."

However, with "The Great Gatsby," driven by a desire to steer the production according to his vision, he embarks on a solo venture, a move not commonly seen on Broadway, where shared producer roles have become the norm.

"When you are one of the producers of a show, you share the rights as well as responsibility, but in the case of 'The Great Gatsby,' both exclusively belong to me … This time, I wanted to ensure the show's direction was solely mine, even though it comes with immense responsibility,” Shin said.

Shin becomes the first Korean — and possibly the first Asian — to lead a Broadway production alone. He sees this as not just a personal achievement but a significant step forward in demonstrating the evolving dynamics of Broadway productions.

"If this attempt succeeds, it will represent a significant expansion and diversification of Broadway's landscape," he said.

 

Crafting ‘Gatsby’

The journey to bring "The Great Gatsby" to Broadway began around 2020 when Shin sought a project with profound literary depth. The development process kicked into high gear by 2021, after the novel entered the public domain, focusing on the book and music, following the conventional route for Broadway productions that typically includes readings, industry presentations and tryouts.

"These steps are standard in the journey to Broadway. We develop the show and invite co-producers to collaborate with us throughout the process," Shin said.

However, the pandemic posed unique challenges, preventing the usual industry presentations. Despite this, interest from theaters and co-producers spiked after the readings, leading to a tryout at New Jersey's Paper Mill Playhouse last October.

This tryout is critical, serving as a litmus test for the show's Broadway potential. The production at Paper Mill Playhouse was so well-received that it quickly made the leap to Broadway.

"A tryout is crucial as it demonstrates the show's direction and concept, playing a key role in determining whether it progresses to Broadway and the specific theater it will occupy," he said.

Shin made significant financial commitments to the tryout phase, understanding that this investment was a gamble: success would mean a green light for Broadway, while failure would result in a significant loss.

“In this 'Gatsby,' we wanted to portray this glitzy party Gatsby throws for Daisy and the house he bought for her. If we fail to showcase this during a tryout, the Broadway production might go away from us. So we made a bold decision to show the direction we are headed,” he said.

 

Thankfully, the risk paid off, with the show's direction and vision resonating well enough to secure its place on Broadway.

Now, as "The Great Gatsby" approaches its Broadway debut with previews starting on March 29 and an official opening on April 25, Shin is meticulously refining every aspect of the production.

From script and music to set and costume design, every detail is being honed to create a cohesive and immersive experience that reflects the original vision.

"We're working on tightening up every element to ensure they collectively convey the story's dramatic depth and themes," he said. "We will continue to refine and rehearse every aspect to achieve the precision and depth we aim for."

Shin highlighted the rigorous and adaptable approach they've taken in developing "The Great Gatsby," which has matured into a Broadway-ready production within three years.

"We've been on a tight schedule, but our development process has been intensive yet flexible, allowing the show to evolve and mature at the right pace."

 

Uniting passionate creatives

The producer aims to present "The Great Gatsby" in a way that allows the audience to forge their interpretations, bringing a timeless story to life with a fresh perspective on stage.

"We are creating a piece of musical theater in which characters express their emotions through song, capturing the essence of their inner lives in a way that spoken dialogue alone cannot," Shin said.

"In contrast to the novel or film adaptations, where characters do not sing, our musical version introduces an additional dimension. By vocalizing their feelings, characters reveal more profound layers of themselves, enhancing the drama and intensifying the story's impact as it unfolds on stage."

Acknowledging the formidable task of adapting such an iconic novel, Shin was determined to assemble a creative team that shared his vision and passion for the project.

"The original is revered, setting a high bar for any adaptation. While crafting a new narrative is challenging, it's an even greater task to honor and elevate such a renowned classic," Shin said.

Shin's approach to building the team was intentional and discerning, focusing on individuals who were not only talented but also passionately invested in the project's success.

"I sought out creatives who are passionate yet possess an unfulfilled potential — those who have shown their capabilities but have not yet reached their peak on Broadway, just like me. It's this drive, coupled with their talent, that I believed would bring the necessary vitality and innovation to our production," he said.

 

Among his key collaborators are Marc Bruni, a director Shin had previously worked with while developing a musical based on the Korean film "Scandal Makers" in the United States in the early 2010s, and composer Jason Howland, with whom Shin had a successful partnership on "Jekyll and Hyde."

New to the team is playwright Kait Kerrigan, chosen for her ability to infuse contemporary relevance into classic stories.

"I had concerns about selecting the right talented writer who could transcend the original work and introduce innovative elements to the show. After discussions with the director and composer, we agreed on choosing a writer who not only respected the original but was also capable of offering a fresh, distinctive perspective."

Shin's dedication extends to the casting, particularly the selection of Jordan of "Newsies" fame and Noblezada, known as the original Eurydice of "Hadestown," whose performances have already received acclaim.

"The tryout has garnered positive attention, and much of that is due to the exceptional performances of our lead actors," he said. "We chose actors who could add depth and vitality to their characters, and I'm thrilled they're part of this venture. Their performances in the Broadway run are highly anticipated."

Securing investments for a Broadway show is fraught with challenges, particularly due to the risks associated with box office performance. Shin acknowledged the crucial role that Korean investment partners played in bringing "The Great Gatsby" to life, especially when it represents the first time Korean investors have actively engaged in a Broadway production to this extent.

"It's a pioneering experience for me as well," Shin said, "Securing funding has always been a difficult task, more so when introducing Korean investors to the Broadway scene, which is relatively new to them. Their commitment to 'The Great Gatsby' has been exceptional, showing a deep level of engagement and willingness to venture into this new world."

 

Aiming high

As "The Great Gatsby" prepares for its Broadway debut this spring, it joins other new productions setting sights on the Tony Awards.

Shin expressed a mix of hope and confidence about the show's prospects, saying, "I think we have a chance at the Tony Awards if we maintain our focus and elevate our show's quality.

He acknowledges the current Broadway landscape's inclination toward diversity and experimentation, yet he believes that "The Great Gatsby," with its classic book musical format, holds a unique appeal.

"Our show offers the spectacle and depth that resonate with audiences, potentially setting a new trend amid the current trend," he said.

As the opening of "The Great Gatsby" approaches, Shin reflected on the journey from its inception to production, acknowledging the hurdles along the way.

"The blend of tension and excitement is palpable, and I'm optimistic about our work. Regardless of the outcome, which holds significant personal importance, the experience will serve as valuable inspiration for my future projects in musical theater."

For Shin, producing is more than a job. It is a calling. He finds joy in the developing process and strives to create shows that entertain and offer audiences a break from their daily routines.

"Seeing the audience's reaction to what I've created is immensely fulfilling," he said, emphasizing his commitment to producing quality entertainment that resonates with both audiences and critics.

출처: [INTERVIEW] Shin Chun-soo realizes Broadway dream with ‘The Great Gatsby’ - The Korea Times