Swag Age has taken Korea by storm, how does it feel to bring this explosive show to London’s West End for its highly anticipated international debut?

Director Lee Kyung-soo: I often wondered, if not in Korea, which continent or country would stage our first performance. But the West End? That in itself feels like a miracle. And to debut at the theater where Cats premiered—it’s thrilling, humbling, and fills me with both joy and a deep sense of responsibility.

Choreographer Kim Eun-chong: Honestly, it still doesn’t feel real. But just like every performance I’ve done before, I approach this one with gratitude and care, even if it feels like I’m going somewhere far away.

Music Director Lee Jung-yeon: I’ve always wanted to share Korean music with the world—to inspire and to give strength through it. Embedding that spirit in Swag Age: Shout, Joseon! and now bringing it to the West End is a true honor. I hope this stage helps spread Korean music, dance, and our stories further into the world.

This concert version is a one-night-only event. How did you approach adapting the full production for a London audience while preserving its energy and message?

Writer Park Chan-min: London isn’t just another city—it’s a stage where theater and music have been constantly reborn through tradition and innovation. The core of Swag Age remains unchanged: rhythm, energy, and the fiery cry for freedom. But we refined the storytelling so London audiences can resonate with it intuitively. Like Shakespeare, we wanted the voices on stage to sound like a “declaration for change.”

Director Lee Kyung-soo: Our production is visually rich, but since this is a concert version, we focused heavily on music and choreography. Our goal was to fully convey the spirit—the joy (heung) and the sorrow (han)—to the audience. We’re excited to shout Swag Age and present Joseon’s story to the West End.

The show’s blend of traditional Korean Sijo poetry with hip-hop and urban dance is unlike anything currently on the West End. What reactions are you hoping to spark in London audiences?

Choreographer Kim Eun-chong: Thank you for the kind words. I don’t expect any specific reaction, but after the first number Land of Sijo, I hope audiences will be thinking, “What on earth did I just see?” I didn’t restrict myself to one genre of dance, but combined everything I could. My hope is that people feel their time and money were well worth it.

Music Director Lee Jung-yeon: Tradition can sometimes feel close yet distant to us today. Through this work, I wanted to merge traditional culture with modern forms so people could more easily enjoy and connect with it. In Korea, people of all ages embraced the show, and I hope London audiences will also experience our traditional sounds and emotions in a way that feels familiar and relatable.

Swag Age in Concert imagines a Joseon Dynasty where freedom of expression is suppressed, how do you think this resonates with global audiences?

Writer Park Chan-min: A world where expression is banned isn’t unique to Korea—it’s a universal reality. From colonial-era Japan to military dictatorships, Korea experienced censorship of songs, plays, and media. England too, in Shakespeare’s time, had strict theater censorship and political subject can be very risky. The imagined Joseon in Swag Age is a mirror, asking how dangerous a silenced society can be. Londoners will not find this question unfamiliar, as their city has also fought to protect freedom of expression.

Choreographer Kim Eun-chong: Though the setting is fictional Joseon, every audience member carries their own “Joseon” and their own freedom within them. As one of our lyrics says: “Do not hesitate in what you believe is right.” I hope this performance becomes a small encouragement for people to stand up for their own sense of justice.

There’s been a growing appreciation for Korean music and culture in the UK. How do you see Swag Age in Concert contributing to that cultural exchange through theatre?

Director Lee Kyung-soo: Before talking about what influence we’ll bring, I must acknowledge how much inspiration we’ve received from the UK. Our creative team studied masterpieces premiered in London. Personally, I was deeply influenced by Sir Laurence Olivier during my university years, and by performing in shows like Miss Saigon and Ghost. Now, I feel the cultural flow may be shifting toward Korea. I hope this concert becomes a bridge, leading to more Korean works staged in London and inspiring future generations, just as I was inspired.

Music Director Lee Jung-yeon: Like many nations, Korea has both beautiful culture and a painful history. Through this show, I hope to share those stories with the world, offering comfort and strength to those who hear our cry.

The chants of “Oh-Eh-Oh!” feel like a call to action. What does this anthem of rebellion and hope mean to the cast and creatives?

Writer Park Chan-min: Though it sounds like a joyful shout, it holds deep meaning: 娛 (Oh: joy), 殪 (Eh: end), 悟 (Oh: enlightenment). Only by seeking joy even in pain can enlightenment be reached. Oh-Eh-Oh is thus both a cry of resistance and a prayer of hope. Like chants from punk bands or rhythms of hip-hop, when shouted together on stage it becomes the heartbeat of a collective. For us, it’s both a call to rise and a declaration to find joy even in despair.

Choreographer Kim Eun-chong: As a choreographer, I approached Oh-Eh-Oh as reflection—giving back exactly what comes toward you. I created it with equality in mind, which aligns with my personal philosophy.

Swag Age in Concert is deeply rooted in Korean heritage but aims to connect with audiences across borders. How do you ensure its themes of identity, resistance, and hope translate globally?

Writer Park Chan-min: We began with Korean roots—recreating sijo in modern musical form. But identity, resistance, and hope are universal. Just as reggae in Jamaica voiced the world, and punk in England expressed youth frustrations, our sijo and rap can also resonate beyond borders. When identity is emphasized rather than erased, that’s when true communication with the world begins.

Music Director Lee Jung-yeon: I wanted to revive the beauty of forgotten Korean traditional music (gugak) by reinterpreting it in a modern way. Instead of using traditional instruments in a purely classical manner, I blended them with popular music styles so anyone could enjoy them. With choreography inspired by K-pop, and a story about ordinary people fighting injustice, we created something that connects personal struggles to universal ones.

Tell us about the choreography in Swag Age in Concert?

Choreographer Kim Eun-chong: As a musical actor for over 10 years, I always longed to explore hip-hop and street styles more freely. This time, I fused them with Korean and contemporary dance, offering audiences a fresh experience. I wanted actors not just to showcase skill, but to reveal their love for the stage and express their individuality through movement. By blending Korean and global dance styles, the choreography bridges past and present, uniting stage and audience seamlessly. I also strove to respect the original intentions of the writers and music director while adding my perspective as a second creator.

What does this West End debut represent for Korean musical theatre on the world stage, and what do you hope international audiences take away from this first performance?

Writer Park Chan-min: A Korean original musical on the West End is not just expansion—it’s dialogue with the world. We want audiences to leave not just entertained but also reflecting: “How precious is freedom?” Music and poetry can be weapons of truth even in silence. And the cry Oh-Eh-Oh, born in Korea, can become a global shout for everyone who believes in freedom.

Choreographer Kim Eun-chong: More than being labeled as a “Korean musical,” I want this work to be remembered simply as a truly great production. I hope people realize that our cry is not so different from their own.

After years of sold-out shows in Korea, why was now the right moment for Swag Age in Concert to debut in London and what’s next for the show after this landmark concert?

Producer Song Hye-sun: I’ll never forget our first performance in Seoul on June 18, 2019. And now, to prepare for September 8, 2025 in London—it’s overwhelming. The standing ovations, the audience chanting Oh-Eh-Oh with us, filling the stage as if they were Joseon’s people themselves—that memory stays with me. Even during the pandemic, when theaters everywhere shut down, Swag Age continued for four seasons. Now, as global interest in K-culture grows, the world is turning its eyes to Korean musicals too. Since the beginning, we dreamed of showing Swag Age: Shout, Joseon! to the world—especially to Koreans abroad. We hope to share our cry with musical fans everywhere, and we pray for a world of freedom and peace.

You can book tickets to Swag Age: In Concert at the Gillian Lynne Theatre, here.