{"title":"\"A New Path to the Future\": Women Producers of Border-Crossing Musical Theatre in Japan, South Korea, and China","authors":"Laura Macdonald","doi":"10.1353/tt.2023.a901199","DOIUrl":null,"url":null,"abstract":"When South Korean producer Sophy Jiwon Kim decided she had to produce the Austrian musical Mozart! (1999) in South Korea, she flew to Tokyo to pursue its creators Michael Kunze and Sylvester Levay at a Japanese theatre and persuade them to grant her the rights for a Korean premiere in 2010. When American producers failed to finance a revue show celebrating the work of Broadway director and producer Harold Prince, Japanese producer Murata Hiroko1 risked her career to honor Prince, premiering the revue, Prince of Broadway, in Japan in 2015, prior to a 2017 Broadway opening. When Chinese producer Yang Jiamin wanted to bring the American musical Man of La Mancha (1965) to China but the initial license agreement proved prohibitive for her fledgling Chinese company’s 2012 inaugural production, she traveled to New York and negotiated with the show’s composer, Mitch Leigh. These women have taken risks for musical theatre. They cross borders and continents, often based on strong instincts rather than certainties.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Theatre Topics","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/tt.2023.a901199","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
When South Korean producer Sophy Jiwon Kim decided she had to produce the Austrian musical Mozart! (1999) in South Korea, she flew to Tokyo to pursue its creators Michael Kunze and Sylvester Levay at a Japanese theatre and persuade them to grant her the rights for a Korean premiere in 2010. When American producers failed to finance a revue show celebrating the work of Broadway director and producer Harold Prince, Japanese producer Murata Hiroko1 risked her career to honor Prince, premiering the revue, Prince of Broadway, in Japan in 2015, prior to a 2017 Broadway opening. When Chinese producer Yang Jiamin wanted to bring the American musical Man of La Mancha (1965) to China but the initial license agreement proved prohibitive for her fledgling Chinese company’s 2012 inaugural production, she traveled to New York and negotiated with the show’s composer, Mitch Leigh. These women have taken risks for musical theatre. They cross borders and continents, often based on strong instincts rather than certainties.
当韩国制作人金智元决定制作奥地利音乐剧《莫扎特》时!(1999)在韩国上映后,她飞往东京,在一家日本剧院会见了该片的创作者迈克尔·昆泽(Michael Kunze)和西尔维斯特·勒维(Sylvester Levay),并说服他们授予她2010年在韩国首演的权利。当美国制片人未能资助一场庆祝百老汇导演兼制片人哈罗德·普林斯(Harold Prince)作品的讽刺剧时,日本制片人村田广子(Murata Hiroko1)冒着职业生涯的风险,在2017年百老汇首演之前,于2015年在日本首演了讽刺剧《百老汇的王子》(Prince of Broadway)。中国制片人杨嘉敏想把美国音乐剧《拉曼查的男人》(Man of La Mancha, 1965)带到中国,但最初的许可协议对她刚刚起步的中国公司2012年的首演来说是禁止的,于是她前往纽约,与该剧的作曲家米奇·利(Mitch Leigh)进行了谈判。这些女人为了音乐剧而冒险。他们跨越国界和大陆,往往基于强烈的本能,而不是确定性。