- Production: 'Beethoven'
- Venue: Sejong Center for the Performing Arts, Grand Theater
- Cast seen: Hong Gwang-ho (Beethoven), Yoon Gong-ju (Antonie Brentano)
The musical 'Beethoven' is a work that illuminates the life and inner world of the genius composer Ludwig van Beethoven.
Rather than centering on dramatic plot twists or sensational events, the show focuses on tracing the anguish and emotions Beethoven experiences — as an artist and as a human being — as he gradually loses his hearing.
For this very reason, 'Beethoven' is a production in which acting and emotional expression matter above all else.
This revival is said to have undergone considerable revisions to both the story and the score since the original production. The most significant change is the nature of the relationship between Beethoven and Antonie.
In the original, the two were portrayed as having an affair; in the revival, their relationship has been reinterpreted as a bond between "kindred souls." The concept itself is not without merit, but questions remain as to whether it was developed with enough plausibility to fully convince an audience.
The narrative building up to the point where the two become uniquely important to each other felt underdeveloped, leaving moments where it was difficult to truly accept the depth of their connection. The emotional intent of the piece comes through, but the storytelling alone does not quite make the case.
This limitation runs throughout the production. 'Beethoven' is structured around the emotional arc of its characters, yet the events and relationship dynamics needed to support that arc are comparatively thin.
Some scenes gave the impression of moving on to the next beat without sufficient grounding, and the characters' emotional shifts occasionally felt abrupt — all of which left something to be desired.
For an audience to become fully immersed, then, everything hinges on how convincingly the performers convey those emotions. In other words, this is a production that places an exceptionally high demand on its cast.
In that regard, Hong Gwang-ho in the role of Beethoven held the center of the production with absolute command.
His vocal power and range were, of course, exceptional — but it was his emotional acting that left the deepest impression. He rendered the moments where anger, frustration, loneliness, and hope intersect with remarkable delicacy.
In short, he made Beethoven a living, breathing human being. There were many moments when even the parts of the narrative that had felt underdeveloped became entirely comprehensible through his performance.
Yoon Gong-ju, too, brought steady acting and singing that kept the production in balance. She conveyed Antonie's warmth and empathy with a naturalness that lent genuine credibility to her relationship with Beethoven.
The music, drawing on Beethoven's existing classical melodies, carried a certain grandeur — but the absence of any number that lodged itself firmly in memory was a disappointment.
The staging was one of the production's clear strengths.
Scenes that made full use of the Sejong Center's wide, deep stage delivered an overwhelming sense of immersion.
The endings of both Act One and Act Two were particularly striking — memorable long after the curtain fell. The direction, which exploited the stage's depth and height alongside the lighting design, created an experience that "grand" alone is too modest a word to describe.
The way Beethoven's hearing loss was depicted was also impressive.
In certain scenes, the sound design was deliberately muffled, allowing the audience to experience Beethoven's condition vicariously — a directorial choice that worked particularly well.
There were, however, clear shortcomings. The first thing that stood out was the choreography for some of the ensemble numbers — there were moments where it felt out of step with the tone of the piece and the numbers it accompanied.
The handling of several supporting characters also left something to be desired.
Bettina Brentano, in particular, never quite established what role she was meant to serve within the story.
Without a clear explanation of why she exists in the narrative, her repeated entrances and exits failed to give the impression that she was an indispensable part of the drama.
These elements could have been used far more effectively, I think, had more time been invested in the central characters' relational arc and emotional throughline.
On the whole, 'Beethoven' is a production that, despite its narrative weaknesses, shines through the towering performances of its cast and the portrayal of Beethoven's inner torment and growth. If you want to experience the full sweep of what a grand musical can offer, it is well worth a visit.
