Hi everyone! I'm Yeri, an editor currently studying and writing in Germany.
I'm thrilled to join the 2nd cohort of the HereWeAre Theatre Club (HTC).
Over the coming month, I’ll be sharing vivid insights and valuable information from the German performing arts market.
To kick things off, I want to talk about the unique structures and cultural differences I’ve noticed in the German theatre scene,
through the eyes of a passionate Korean musical fan (or "Mu-deok(뮤덕)").
1. A Disney Journey by Boat: The Scenery of Hamburg
In Korea, the musical market is centered in Seoul, where production companies like EMK, Seensee, or Shownote rent out venues like the Chungmu Art Center or Charlotte Theater.
Germany, however, operates quite differently.
The holy land of German musicals is Hamburg, where a giant production company called Stage Entertainment dominates the majority of the market.
Interestingly, the actual operation of the theaters is often delegated to a platform called Eventim.
To get to venues like Stage Theater an der Elbe, located across the Elbe River, you have to take a dedicated ferry.
The view of the theater from the river is a spectacular performance in itself.
Most shows here are German versions of global Disney hits like Frozen, The Lion King, Tarzan, or MJ.
Rather than discovering new original works, the focus is on perfectly implementing German versions of proven global hits.
In Cologne, where I live, Theater am Dom is also operated by Stage Entertainment.
Moulin Rouge! has been playing there recently, but it will move to Hamburg this fall, making room for The Phantom of the Opera.
It feels as though established masterpieces rotate through the spaces rather than new original musicals being developed.
2. Working as a Bartender at a Theater?
Working at a German theater often means becoming a skilled bartender.
Regardless of the scale or nature of the performance, enjoying a show with alcohol is a very common culture in Germany.
While theater staff in Korea focus on safety and smooth operations, German theaters place a higher value on "audience enjoyment."
I once participated in job training with Eventim, and I remember having a bit of a career crisis when I realized the primary duty was bartending!
Seeing people carry alcohol into the auditorium or enjoy a show with a slight buzz was a fresh culture shock for me,
coming from Korea’s strict theater etiquette.
3. No 'Hyehwa,' but Plenty of 'Festivals'
It's hard to find a street in Germany like Daehakro (Hyehwa) in Korea,
where small-scale plays pour out all year round.
Instead, Germany has limited-time theater festivals like 'FESTTAGE' or the 'Theatre Festival (Theaterszene Europa)'.
While there is high demand for experimental and challenging plays,
the passion for original musicals feels stronger in neighboring Vienna, Austria.
The VBW company, famous for Elisabeth, Rebecca, and Mozart!,
continues to produce new works based on Austrian history, such as their current project about Maria Theresa.
4. Dramaturg as a Stable Profession
What I find most impressive about the German scene is the stability and professionalism of its workforce.
Specifically, the role of a 'Dramaturg' is established as a solid professional career.
While it’s still a relatively unfamiliar role in Korea, Germany has dedicated 'Dramaturgie' majors in universities.
Dramaturgs work as full-time staff members who define the theater's artistic direction and lead planning.
I decided to study here in Germany because I saw a future in this specialized field.
I hope these stories from the German and European theatre scenes—distinct from Broadway or the West End—are interesting to you.
I look forward to sharing more deep and niche news about plays and musicals in the future! 🔖🏷️
