The contemporary individual lives in a society where the importance and value of visual culture are greatly maximized, deeply immersed in the 'joy of seeing' through spectacles and sights. Even when our attention is narrowed down to the small space of a 'stage,' the visuals have become much more spectacular and diverse compared to the past, offering boldness and emotion beyond the plays or performances themselves. Moreover, the visual effects are so crucial that the quality of a performance can be determined by the designer's expressive abilities. With the rapid development of science and technology, the art world is expected to undergo infinite possibilities and changes, making the capabilities of stage designers increasingly important. "MomanI" invited stage designer Joo-hyun Kim, involved with the design team of the Broadway musical The King and I, to an artist interview. Although it's been less than two years since she completed her master's degree at the Yale School of Drama and entered the Broadway scene, her demeanor, as she seriously discusses Shakespeare, reveals the promising talent branding herself through Manhattan's significant performances.
Interview, Text by Editor Ga-bi Choi
Photos by Kang-soo Bae
As I headed to Ms. Joo-hyun Kim's studio in Midtown, I briefly recalled the musical I watched recently. I was thrilled to remember the intense stage that quietly dismantled the outdated belief that a good performance is determined solely by the director's skill. With the expansion of the performance market and increasing demand for performances, expectations for stage designers like her are significant from an audience perspective. Upon entering the studio, we were warmly greeted by Ms. Kim, who looked younger than expected. The studio, filled with all kinds of props, was incredibly impressive. Observing Ms. Kim busily handling emails related to The King and I tour performances, I could sense her passion for the stage.
I am Joo-hyun Kim, currently working in New York after graduating from the Department of Fine Arts at Hongik University and completing my master's in stage design at the Yale School of Drama. I decided to pursue stage design while in college and prepared during my studies, arriving in the U.S. shortly thereafter. It's been just over a year and a half since I started working in the field. I've designed many performances in small theaters and universities and continue to gain experience as an assistant in larger productions. My works include the opera Hansel and Gretel, the musical Fucking A, the opera Cunning Little Vixen, the musical My Fair Lady, and the touring The King and I.
My parents had a significant influence. My mother enjoyed musicals and operas, so I followed her to performances from a young age, eventually venturing out to see shows I wanted by myself. During college, I spent my part-time job earnings on performances. Although I generally loved performances, the decisive show that sparked my interest in stage design was The Lion King. The Lion King performed by Japan's Shiki Theatre Company in Korea during my high school years was much larger in scale than the original Broadway venue, and it fit the musical's direction perfectly. Watching that first opening made me genuinely want to pursue stage design. I initially majored in painting as it's the foundation of art and became seriously interested in stage design by my junior year in college.
Stage design began developing significantly in Korea around the 1990s. While basic sets were tailored to scripts from the start, as the domestic performance market is still immature, it is hard to say the field has become popularized. Nowadays, more people are studying stage design and excelling in it, so the field is fast developing. However, projection design, sound design, and lighting design still lag behind. Additionally, many designers move to television due to economic reasons.
A memorable piece is Everything That Never Happened, the final play I designed while in Yale’s master’s program. Although not a large or flashy piece, the design process was ideal. Since a performance is a team effort, it's difficult if the synergy among participants isn't right. Usually, different teams form for every show, making it hard to achieve an ideal team. Yet, for Everything That Never Happened, everything fit perfectly—from the director and designers to the technical department—finishing smoothly without friction. This experience taught me that a good performance could emerge through such processes.
In one word: 'Simple.' I often create abstract and minimal sets. I enjoy bold silhouettes revealed through lighting. While there's a risk the stage might seem too empty or overly simplified, I strive to compose sets with simple and strong lines while maintaining the work's inherent atmosphere.
To design a good stage, there must be a solid interpretation of the work and effective realization of that interpretation by the designer. It’s even better if the design enhances the actors' performances. Ideally, if a designer's individuality is reflected in a work, it could be considered successful. If it touches the audience's hearts and enhances the performance’s quality, it’s even better.
The U.S. offers more employment opportunities and financial support, which are great advantages. However, the occasional struggle comes from a lack of multicultural understanding rather than emotional issues with colleagues. For instance, in the U.S., racial discrimination is a very sensitive topic. While reviewing a script, I discovered a prop's derogatory implications toward a specific race. Such challenges necessitate continuous learning to avoid inadvertent mistakes, highlighting the sensitivity and difficulty of these aspects.
Observing carefully with the eyes is paramount. Although I've learned immensely while working in the field post-graduation, I've been fortunate to participate in large-scale productions, which served as my real study ground. Whenever possible, I try to watch numerous performances, considering it part of my self-study.
Firstly, I'd recommend reading extensively, including many play scripts. Reading and interpreting Shakespeare, Anton Chekhov, and Tennessee Williams' scripts and related literature while researching their characters can be beneficial. Studying Shakespeare is essential in theater because his works present comprehensive human understanding. Although eras change, his characters reveal 'human universality.' Contemplating and studying these aspects beforehand would be advantageous. Technical skills can be learned in school, which assesses a student’s potential and possibilities, so preemptively studying these parts on one's own would be beneficial.
As My Fair Lady is about to start its tour at Lincoln Center, I expect to be busy with that. Personally, I'm also preparing work related to an opera company. The King and I is on its sixth tour, with upcoming performances in Japan and Korea, so I'll likely remain occupied. I'm enjoying and finding the work fun and plan to continue working diligently.
Scenic Designer - BA in fine arts, graduate of the Yale School of Drama. Credits include Cancer Cancer Cancer (Ars Nova), Raising Jo (Theatre Row), Silent Lyre (Lighten Theater), Everything That Never Happened (Yale School of Drama), Fucking A (Yale School of Drama), Some Bodies Travel (Yale School of Drama), Caught (Yale Cabaret), Current Location (Yale Cabaret), and The Cunning Little Vixen (OTYC).