✭✭✭✩✩

music by Hui Gap Kim, lyrics by In Ja Yang,

book by Mun Yol Yi, directed by Ho Jin Yun

Mirvish Productions, ACOM and CJ Entertainment, Hummingbird Centre, Toronto

August 5-September 1, 2004

The Last Empress, the first Asian musical ever to play on Broadway, is visually the most spectacular show to play Toronto since Phantom of the Opera and is almost worth seeing for that reason alone.  As musical theatre, however, it is much more historical pageant than involving drama.

The musical tells the story of Queen Min (1851-95), a commoner selected for political reasons to marry King Kojong of Chosun (as Korea was then known).  Though her only duty is to produce a male heir, Min shows herself far more astute in politics than her weak-willed husband.  She encourages the “Hermit Kingdom” to open to the West and is skilled in playing the countries who wish to dominate Chosun against each other to preserve its independence.  Her actions lead to rebellion by conservatives from within, led by her own father-in-law, and to aggression from without, especially from Japan.  Eventually Japan decides to assassinate the woman who so frustrates its plans of domination.

This might be a fascinating tale if we cared about the characters, but we don’t.  The action focusses more on international politics, including some rather crude Japan-bashing, than on domestic scenes.  Yet, even then, the characters show no inner conflicts or personality quirks.  An immaculate model of patriotism, Min sings solely of dedication to family and country. 

The sung-through musical is heavily influenced by other pop operas like Evita and Les Misérables.  The B cast I saw gave such effective vocal and dramatic performances I don’t know how the A cast could be better.  Yet, what impresses throughout is the highly imaginative state-of-the-art stagecraft depicting everything from cannonades against sailing ships to samurai massacres.  The gorgeous period costumes, lavish sets and scenes of martial arts, Korean court dances and shamanistic rituals make this an unusually stunning if ultimately unengaging cultural spectacle.              

©Christopher Hoile

Note: A version of this review appeared in Eye Weekly 2004-08-19.

Photo: Tae Won Yi (centre) as Queen Min. ©2004 CJ Entertainment.