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In the fall, when the leaves dry up and start to fall one by one, and in the winter when the cold wind blows, there is a voice that I always find. This is Kim Gwang-seok, the representative singer of Korean folk music. His voice is as rough and rough as a bare tree branch, but the music he sings with that voice has the power of a large tree with a strong base.
There is a performance that collects his music and weaves it into one story. It is a musical that opened on November 5th and will be performed at Daehakro Studio Blue until January 5, 2025.
Music represents the times
The story begins when the main character, Lee Pung-se, who respects Kim Gwang-seok and likes to sing, joins Seoin University’s band club ‘Baram Band.’ The band’s seniors, who were worried about not having a capable main vocalist, welcome with open arms the newbie Poong-se, who showed off his explosive singing skills at the audition.
Baram Band consists of a total of six members, led by main vocalist Pungse, leader and first guitarist ‘Kim Sang-baek’, percussion and chorus vocalist ‘Choi Eun-eun’, keyboard and chorus vocalist ‘Baek Eun-young’, bassist and composition ‘Hong Young-hoo’, and percussionist ‘Hankyoreh’. While preparing for the MBC College Song Festival, we build strong friendships and unforgettable experiences.
Freshman Pungse’s class number is ’94, which means this work is set in 1994. He prepares for a college song contest by performing in a baram band, and gives up an opportunity that comes before his eyes to comfort a friend who suddenly lost his mother.
In addition, events that could only happen in that era occur one after another, such as leaving behind the girlfriend he met at the club and leaving for the military, performing on stage to sing a song for the student movement at the request of a friend after being discharged, and watching that friend’s tragic ending. And all of these events are connected to Kim Gwang-seok’s music, including To You, A Private’s Letter, and the story of an elderly couple in their 60s.
This work, which weaves the events that happened in the 90s into the songs of Kim Kwang-seok, who were popular in the 90s, brings the atmosphere and memories of that era to the present more powerfully than any other element.
A musical play that brings back memories
Considering the plot and material mentioned above, it may have been natural that the age group of the audience that filled the concert hall was older than expected. I have seen many plays and musicals in Daehakro, but I remember being quite surprised because this was the first time the auditorium was so full of audience members who seemed to be of the same generation as my parents.
Although Daehakro has a somewhat rigid viewing culture, it was impressive that this performance had an atmosphere that allowed people to enjoy it more comfortably, as if it were a singer’s regular concert rather than a musical. Every time a song was played, people’s joyous expressions led to a bit of humming and excitement.
sing and play on stage
The fact that the audience was able to enjoy the performance in a music concert-like atmosphere was probably thanks to the wonderful music created by the actors on stage. Befitting the setting of a college band, they showed off their sense of presence by passionately playing their respective instruments – guitar, bass, percussion, and keyboard.
In particular, the singing of actor Kim So-nyeon, who played the role of Pung-se, stood out. He well reproduced the sincerity of the restrained emotions shown by the original composer Kim Gwang-seok, and at the same time sang passionately with a voice that could fill the theater for over two hours.
Even for those who did not live in the time period covered by the play, Kim Gwang-seok’s songs were enough to move people by themselves, and just being able to listen to them live together made it possible to enjoy the time of watching this performance.
Art Insight | https://www.artinsight.co.kr
This post was written with the support of an invitation from Art Insight.
Here are some open-ended questions, divided into thematic sections, inspired by the article and designed to encourage discussion and diverse viewpoints:
**1. The Concert-Style Musical Experience**
* The article mentions that the musical created a more relaxed atmosphere compared to typical Daehakro productions. Do you think this approach is suitable for musicals, or are there situations where a more formal setting might be preferable?
* How did the actors’ passionate performances and ”band vibe” contribute to the concert-like atmosphere? What specific elements stood out to you?
**2. The Power of Kim Kwang-seok’s Music**
* Even those unfamiliar with the historical context found Kim Kwang-seok’s music moving. What universal themes or emotions do you think make his music so resonant?
* How did the live performance of these songs enhance their impact? Did it change your perception of the music in any way?
* The article mentions Kim So-nyeon’s ability to balance restraint and emotional intensity in his vocals. What are some other ways artists can effectively convey emotion through music?
**3. The Impact of Nostalgia and Intergenerational Appeal**
* How might a musical like this bridge generational gaps and offer different perspectives on a specific era?
* What are the benefits of bringing to life music from a past generation through live performances?
* Do you think musicals are an effective way to explore history and social commentary, or are there other artistic forms that might be more suitable?
**4. The Role of Daehakro Theatre**
* The article mentions the somewhat rigid viewing culture in Daehakro. What are your thoughts on this culture? How can it evolve to be more inclusive and accessible to diverse audiences?
* Daehakro is known for its experimental and independent productions. Do you think this type of musical fits in with the spirit of Daehakro? Why or why not?
* What role do you think Daehakro plays in the broader Korean theatrical landscape?
Let me know if you’d like me to elaborate on any of these questions or provide additional discussion prompts!
