Magazine
A legacy-driven media platform documenting Korean excellence in culture, economy, and identity
Andrew Lim, Playwright and Director
Photo Credit: Andrew Lim
Before commencing this column, I wish to clarify two points briefly.
First, regarding the focus on theater in this column. As previously hinted in the debut issue, and as the title suggests, there is no intention to limit the content solely to theater. However, as the primary readership resides in New York, a city regarded as the epicenter of performing arts, discussions will predominantly center around theater, including musicals, and broadly encompass performing arts. My professional involvement in this field naturally imposes certain constraints, which I openly acknowledge. Yet, one must not overlook that theater, with its comprehensive artistic attributes, is an art form that has evolved by most sensitively reflecting society and the times. Thus, it holds merit to explore how to appreciate cultural and artistic trends through the lens of theater, which has long served as a mirror to society and the era.
Secondly, this column is not exclusively for readers who have followed previous issues. Nevertheless, I recommend reading in sequence. My aim is to guide residents or visitors to New York through an easy and enjoyable exploration of New York’s performance culture with the mindset of a travel guide. However, due to constraints such as space, there may be continuations from previous issues.
In the conclusion of the last issue, I indicated that this column would delve into “the unique enjoyment that only theater can provide,” a journey exemplified by the musical School of Rock being introduced in this issue.
Currently playing on Broadway, this musical demonstrates how a simple plot can effectively leverage the unique characteristics of theater to captivate audiences. While some may question choosing School of Rock when discussing Broadway musicals instead of more renowned works like Phantom of the Opera or Wicked, the rationale is straightforward. It is precisely because these works are well-known. Extensive information on Phantom of the Opera or Wicked can easily be acquired online, making lengthy discussions in this limited space unnecessary. Moreover, there is no shortage of experts providing insights into these famous productions online.
Crucially, from the perspective of "theatrical enjoyment," regardless of commercial success, School of Rock stands as one of the finest musicals currently on Broadway, justifying its introduction in this issue.
The plot of School of Rock is extremely simple. Summarizing it takes less than a minute: Dewey, the protagonist aspiring to be a rock star, is ousted from his band and ends up living with a friend. This friend has applied for a substitute teaching position at an elementary school. Dewey, seizing the opportunity, impersonates his friend to secure a teaching role, teaching rock music to fifth graders and forming a band, which ultimately competes in a rock contest.
With music by Andrew Lloyd Webber, who has created numerous Broadway hits like Phantom of the Opera and Cats, School of Rock was born from this straightforward narrative.
The musical begins with a rock band's performance, highlighting Dewey’s self-indulgence, leading to his expulsion from the band. He then cleverly and swiftly secures a job as a substitute teacher, where he teaches rock music to students and forms a band. Despite the inherent conflicts between Dewey and the disciplined students, the freedom and desire unleashed through rock music bridge their worlds. Although some events unfold exaggeratedly, they remain within the bounds of plausibility, staying at a commendable level clearly intended by the director. The lead actor’s performance and vocal prowess further enrich the audience's enjoyment. Above all, the young performers’ acting, singing, and musical skills, including playing the guitar, keyboard, and drums on stage without technological aid, astound the audience.
Initially opposed to their children's involvement due to societal expectations, parents eventually find themselves enthralled by the children’s performances. The audience experiences a profound connection, unknowingly siding with Dewey and the students, and offering resounding cheers and support. In a pivotal contest scene, the audience collectively chants “School of Rock,” uniting in a shared theatrical experience that transcends the fictional narrative.
The lack of technological manipulation highlights the authenticity of the performers’ abilities and the theatrical persuasive power unique to live drama. Together with Andrew Lloyd Webber’s reliable music, School of Rock triumphs over its simple plot, proving its worthiness on the Broadway stage.
Andrew Lim
Playwright, Director, Critic, Freelance Contributor. Resident Director, Theatre Company MAT.
Education: Central University and Graduate School – Theater Studies; New York University – Playwriting and Directing.
