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Reconstructing ‘K-ness’ in K-Musicals: An analysis of global reception discourse on Maybe Happy Ending

  • The Journal of Translation Studies
  • Abbr : JTS
  • 2025, 26(4), pp.101~131
  • DOI : 10.15749/jts.2025.26.4.004
  • Publisher : The Korean Association for Translation Studies
  • Research Area : Humanities > Interpretation and Translation Studies
  • Received : November 14, 2025
  • Accepted : December 16, 2025
  • Published : December 31, 2025

Choi, Eun-Kyoung 1,  Kyung Hye KIM 2,  Hong Jung Min 2

1한국외국어대학교
2동국대학교

Accredited

ABSTRACT

This article explores the “K-ness” of K-musicals by examining Broadway audiences' perceptions of Maybe Happy Ending (MHE) on Reddit in relation to its Korean identity. Drawing on posts and comments collected from the MHE subreddit with keywords “MHE”, “translation”, “Korea”, and “Korean”, the study identifies three interrelated findings. First, although many Reddit users recognize Korean origin or features of MHE, most discussions describe the musical in terms of Asian-ness, diversity, multiculturalism, or universality. This is linked to the Broadway adaptation’s “hybridity” where specific Korean cultural elements are reduced, and aspects of the music, staging, and communication styles are adjusted to meet local expectations. This view contrasts with South Korean government and media, which typically define K-musicals narrowly in national or ethnic terms. Thus, localizing Korean musical theatre demands understanding how target audiences perceive these hybrid forms of K-musicals. Second, the users engage in detailed comparisons between the English and Korean versions of MHE, highlighting another aspect of K-ness: the “expandability” of discussions. The conversation transcends the Broadway production, extending to the Korean version or original text. Unlike other genres such as music, drama, film, musical theatre often involves multiple versions, creating a space for discussion across different adaptations. Third, Reddit participants recontextualize MHE by linking it to the broader body of work by its creators, to practices in the Korean theatre scene, and to the Korean musical industry as a whole. Therefore, K-ness encompasses not just text or nationality but also the fan participation and discursive networking around K-musicals on online platforms.

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