'The Great Gatsby' producer Shin Chun-soo lays path for Korean talent to go global
Published: 06 May. 2025, 16:13
Updated: 09 May. 2025, 11:03
![Producer Shin Chun-soo, CEO of OD Company, poses for a photo at a red carpet event held before the opening performance of the Korean production company's original musical ″The Great Gatsby″ at the London Coliseum Theatre on April 25. [YONHAP]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/2dbdad11-294c-48cf-991c-c4c17f45c0b9.jpg)
Producer Shin Chun-soo, CEO of OD Company, poses for a photo at a red carpet event held before the opening performance of the Korean production company's original musical ″The Great Gatsby″ at the London Coliseum Theatre on April 25. [YONHAP]
Producer Shin Chun-soo, who made history as the first Korean to bring a musical to both New York's Broadway and London’s West End, is now leading a global rollout of “The Great Gatsby,” while laying the groundwork to open new doors for Korean creators in the international musical scene.
On April 24, a new chapter opened in Korean musical theater as the musical “The Great Gatsby,” produced by Shin and based on the American novel of the same name, received a standing ovation as it launched a five-month run at the historic Coliseum Theatre in London’s West End.
All preview performances since April 11 sold out. Already a proven hit, the show opened on Broadway a year ago, won a Tony Award and surpassed $68 million in revenue.
Shin, CEO of OD Company, has now become the first Korean to establish a presence in both Broadway and the West End. Reached by phone by the JoongAng Ilbo in London, where he is currently engaged in meetings with international theater professionals, he shared his excitement.
License agreements are being finalized for productions in Korea — opening in July — as well as in Australia, Japan and Germany. Shin is also developing new works with globally renowned creators.
When Shin last spoke to the JoongAng Ilbo two years ago, as “The Great Gatsby” was preparing for its Broadway debut, this dream seemed far off. But he now calmly states, “Things are going as planned.”
Shin is one of Korea’s leading producers, credited with discovering major stars like Cho Seung-woo, Jo Jung-suk, Hong Kwang-ho and Jung Sung-hwa in the early 2000s. He created blockbuster musicals like “Jekyll & Hyde” and “Man of La Mancha,” and started targeting Broadway in 2009.
![Producer Shin Chun-soo, CEO of OD Company, second from left, and director Marc Bruni, third from left, pose for a commemorative photo at a red carpet event held before the opening performance of the Korean production company's original musical ″The Great Gatsby″ at the London Coliseum Theatre on April 25. [YONHAP]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/d9713e29-d9c8-49bd-9d73-5bc5ea30c4fd.jpg)
Producer Shin Chun-soo, CEO of OD Company, second from left, and director Marc Bruni, third from left, pose for a commemorative photo at a red carpet event held before the opening performance of the Korean production company's original musical ″The Great Gatsby″ at the London Coliseum Theatre on April 25. [YONHAP]
But his first three attempts — “Dreamgirls,” “Holler If Ya Hear Me” (2014) and “Doctor Zhivago” (2015) — all failed. He lost the equivalent of two Gangnam buildings’ value in the process, but never stopped chasing his dream.
“The Great Gatsby” became available for adaptation in 2021 when the novel entered the public domain. Two musical productions emerged in competition, but Shin’s version prevailed after the other disbanded following its tryout.
While the production has been lauded for its audiovisual brilliance and Tony-winning costumes, some critics argue the glitz overshadows the novel’s tragic themes about the illusion of the American dream. The Guardian even gave it just one star.
Interestingly, “The Great Gatsby” production team weren’t major names.
Shin once said: “I didn’t assemble the best to start with — I aimed to make them the best through ‘The Great Gatsby.’” He believes “a touch of inadequacy breeds excellence,” describing director Marc Bruni, composer Jason Howland and choreographer Dominique Kelley as immensely talented and passionate.
The following interview has been edited for length and clarity.
![A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [OD COMPANY]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/b9573ce7-c271-4e0c-88f6-9b8c7fd1cacb.jpg)
A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [OD COMPANY]
Q. You’ve made it to the West End. How does it feel?
A. When I first fell in love with musicals, it was through the West End. This feels like the culmination of a childhood dream. There’s tension and excitement, but also a sense of reverence and responsibility. The British media finds it fascinating — a Korean producer succeeding with an American story on Broadway and now the West End. They know how hard this is, so I’ve received a lot of congratulations and support.
Every show is sold out, what do you make of this success?
That’s thanks to the Broadway success. Even during casting, expectations were high and many theaters were eager to host us. The London Coliseum usually stages opera and ballet — it’s rare for a musical to run here for five months. It’s also a prestigious credit for the actors.
Some critics weren’t kind. What would you say to them?
I knew from the start that adapting a novel like “The Great Gatsby” to the stage would mean sacrificing some of its literary depth. The critic that the novel’s deep thematic consciousness was lacking was expected. In musicals, stage aesthetics are crucial. I even studied academic papers and tried to reflect the novel’s spirit through each character’s arc. I believe we’ve conveyed our message successfully to the audience.
![Frances Mayli McCann, left, and Jamie Muscato, the lead actors of the musical ″The Great Gatsby″ in London's West End, pose for a commemorative photo at a party after the opening performance on April 24. [YONHAP]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/ae443ce3-7506-421a-8020-e4a10d2fdc1b.jpg)
Frances Mayli McCann, left, and Jamie Muscato, the lead actors of the musical ″The Great Gatsby″ in London's West End, pose for a commemorative photo at a party after the opening performance on April 24. [YONHAP]
Any memorable audience reactions?
On Broadway, people called it a “beautiful production.” You can’t stage the entirety of American history, but I think we expressed our concept well. Here in London, financiers and politicians — people with titles like “Sir” — have come to see it and said, “This is genius.” A lot of Korean fans also traveled here to cheer us on. I finally took a break yesterday and while walking through Hyde Park, I thought, “I’ve received so much love — how do I give it back?”
How are you now?
Everyone says they’ve filled the void in their lives with this success. That “void” for me meant having a goal and a dream. The success of “The Great Gatsby” has made everyone around me incredibly busy — we’re getting so many offers.
With Korea, Australia and Japan coming up, that’s three countries performing Gatsby at once. How do you feel?
This morning alone, I had three production meetings. We’re also preparing for a U.S. tour, a 2027 Japanese production and European licensing. And I’m not just sticking with “The Great Gatsby.” I’m now working with top-tier creators on new shows and we’re aiming for a tryout in London around this time next year. I’ll let you know first once it’s confirmed.
![A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [OD COMPANY]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/eeaa9995-6bd2-4571-9843-55ca1558a7ed.jpg)
A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [OD COMPANY]
Were there any major crises with producing “The Great Gatsby?”
My health was the biggest issue. When I returned to Korea in February, I collapsed from exhaustion, broke my nose and was badly hurt. But once I got back to the U.K., I was reenergized. In Korea, I have to juggle so many responsibilities, but overseas, I can focus purely on the creative side. I’ve realized I’m happiest when I’m producing and I need a full-time business manager to take care of operations.
You never gave up on breaking into Broadway, despite financial and physical setbacks. What has kept you going?
What kept me going was the belief that I hadn’t yet made a truly great musical. That “inadequacy” gave me drive. Now that “The Great Gatsby” is on track, I’m already hungry to create the next great work. I guess I’m a born producer.
What’s the key to success — or failure?
In the beginning, I was too focused on outcomes and rushed things. I thought of myself as an outsider and felt anxious. But with “The Great Gatsby,” I trusted myself and moved strategically. Even if I’m not the center, I’m now part of this league. As a Korean producer, I’m working with dignity. As the top boss, a producer influences everyone. British colleagues enjoy learning Korean from me just to greet me properly. That kind of cultural exchange is fun.
![A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [JOONGANG PHOTO]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/37c8121b-47df-4c99-8ccf-da802d57d6d4.jpg)
A scene from the Broadway production of ″The Great Gatsby,″ produced by Korean producer Shin Chun-soo of OD Company [JOONGANG PHOTO]
Now that a Korean producer has succeeded, will doors open for others?
Producers are the ones who bring creators into the spotlight. Korean creators will have more chances now — I’m already looking for them. That’s the real value of producer success. When we succeed, investment flows and musicals get made. I think I’ve paved the way for my juniors as a producer and opportunities will naturally open up for Korean writers as well.
The Korean musical industry is said to be at its peak but also struggling. What’s needed?
Working here made me realize Korea still needs to address the basics. We need a more balanced ecosystem. Everything’s still too actor-centric and creators are overwhelmed. If we want real progress, we have to invest in nurturing writers, directors and composers. The whole industry must come together and systematically improve the production environment.
What’s your next goal?
If I can release three more great works, OD Company will be a global brand that thrives even without me. I want to create a musical like “Wicked” — one that lives on for generations. I also want to stage Korean-language musicals like “Il Tenore” overseas with subtitles. Our performers are so talented and the world needs to see that. I’m grateful to have so much to do. After finally taking a day off yesterday, I was sore all over — maybe I’m just built to stay tense!
![Culture Minister Yu In-chon, far right, greets cast members of ″The Great Gatsby″ after a viewing at Broadway in New York on June 27, 2024. [NEWS1]](https://koreajoongangdaily.joins.com/data/photo/2025/05/09/f3a206f9-3621-4906-bbd9-b6cd2f409daf.jpg)
Culture Minister Yu In-chon, far right, greets cast members of ″The Great Gatsby″ after a viewing at Broadway in New York on June 27, 2024. [NEWS1]
Translated from JoongAng Sunday using generative AI and edited by Korea JoongAng Daily staff.
BY YOO JU-HYUN [[email protected]]
with the Korea JoongAng Daily
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