"Too many young people don’t know how much they can earn before a premiere, how long it will take, or what they’ll be responsible for. We’re still using a standard contract from more than 10 years ago, and there aren’t even specific amounts or average rates," writer Han Jeong-seok said.
At the second meeting of the Musical Theater Subcommittee of the Arts and Culture Policy Advisory Committee on April 27 at the National Museum of Modern and Contemporary Art, Seoul, participants repeatedly said revising standard contracts is urgent for the sustained growth of K-musicals.
Culture, Sports and Tourism Minister Choi Hwi-young and musical-theater experts discussed ways to strengthen the industry, including improving standard contracts, building dedicated space for original productions, developing talent and supporting overseas expansion.
Han criticized what he called a “black-box” contracting environment that he said has become a barrier to entry. He said webtoons, screenplays and films have standard rates for new creators, allowing them to plan their lives, but musical theater does not. He added that creators often sign first because it is hard to judge whether terms are fair, only to realize later the deal was unfavorable.
Producers also voiced concern. Lee Seong-hoon, CEO of Show Note, again stressed the need to update the standard contract, saying the musical industry has changed rapidly while a contract drafted 10 years ago is still treated as the standard. He said the very concept of “standard” needs to be strengthened.
Choi asked detailed questions about conditions in the field, including whether rates vary widely and whether they differ sharply by work, individual or production company. He said it is necessary to build a solid ecosystem.
"When people decide to invest their lives, youth and talent, and when they challenge a dream, uncertainty and unpredictability are not signs of a healthy ecosystem," Choi said. "It seems important to help talented people enter the musical-theater field. I will gather opinions and consider what the government can do to help."
Participants also raised the need to expand infrastructure for original premiere musicals, described as seeds for the industry’s future. They proposed using sites such as the Seogye-dong complex cultural space under development or idle land at the Danginri power plant to create a dedicated theater for original premieres.
Choi said it is true that premiere productions have difficulty renting theaters and promised active support so more original premieres can be staged.
* This article has been translated by AI.
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