Shortly before I left Seattle, I was fortunate enough to go see the Seattle Opera's production of Tristan und Isolde, Wagner's epic, 4+ hour long telling of the medieval romantic legend. While I really appreciated the cultural experience and thought the music was beautiful, it reaffirmed my general feeling that if you've seen one tragic romance, you've seen them all. Then I came to Korea, and my cousin took me to a musical called "Pimas-gul Love Song".
Set in the middle of the Chosun Dynasty (probably in the 17th century sometime), in either a village that was where Seoul now is, or a backstreet community in an already extant Seoul, "PGLS" was described to me as Korean Romeo and Juliet, but with singing. I have to admit that I didn't have the highest expectations, especially when one of the opening lines spoken said something about "A man passed through here once and now's it's all warm and fishy-smelling". (There were, by the way, little screens with English subtitles conveniently located for my viewing pleasure!)

The first song, a speedy, percussion-heavy number about village life full of a great mix of traditional and modern dance moves, got me pretty into the whole thing.
Even if the story is lame, I thought,
at least there's sweet dancing. The rest of Act 1 was pretty predictable: Boy meets Girl under apricot tree that is also an ancient spirit, Boy pisses off Girl's Brother by not letting him cut down the special tree, Brother beats him up and locks him in a shed to kill him in the morning, while in shed Boy feeds two rats and remarks on how one has spots on its body and the other on its tail, Girl rescues Boy and they fall deeply in love, Brother discovers Girl hiding Boy, stabs him and throws him in the river, and Girl kills herself.
At intermission, my cousin and I wondered what on earth they could possibly do with the remaining hour. All the basic plot points seemed to have been covered. We predicted that Boy would not really be dead but then discover that Girl is dead and so kill himself. But seriously, how would that fill an hour? There's only so much woeful singing and swaying a person can take, and I wasn't optimistic.
Act II opens on Boy, lost in a foggy nether-region between life and death, dazed and confused after climbing out of the river. The apricot tree spirit appears, telling him where he is and that she owes him one for saving her life. She'll help him get to Girl, but first he has to help some other people. We're transported to a Seoul in the 1930-40's, where smartly dressed men and women do a spirited Charleston.
But wait, I thought to myself,
why do they have big fake ears on? And... tails?! They were RATS. The apricot tree spirit appears again and explains that the power of Boy and Girl's cries for one another created some sort of rift in the time space continuum/other universe in which rats sing and dance, live life and fall in love just like the people that preceded them in the first act
Moving on, the rats now prove themselves to have mad flow and bad ass- if somewhat anachronistic- hip hop dance moves. They rap about being rats, ruling the night time, and about how the rats with spots on their bodies don't mix with the rats who have speckled tails, and then they break dance fight back and forth across the stage. The music stops when a girl rat with speckled tail and boy rat with spotted body climb up into a tree and say they're in love and won't climb down until both groups accept their union. This is met with rage and a lot of squeaky yelling until Boy steps in and asks what the big fuss is. At first the rats are shocked that he's human, but soon tell him their 300 year history: a great poet once gave the rats sacred beans and told them of their differences, and ever since they have lived in fierce separation. Boy realizes
he was the poet, and proves it to them by showing the bag whence the beans had come so many years ago. He tells them he was wrong to have pointed out that difference. At first the rats seems willing to dance as friends, but their long-held enmity wins out, and it seems all is lost. Boy realizes that only a child with both tail speckles and body spots will bring about peace, and tells the two rats in the tree to bone.
Suggestive dancing ensues, the girl rat has morning sickness, and all is well. Apricot tree spirit takes Boy to some other sort of nether-region. Through a dark veil he can hear and almost see Girl, but before he can try to get to her the long-dead spirit of Brother, still quite pissed off, appears, and tries to kill Boy. Then some stuff happens that I don't understand and the apricot tree spirit has pushed Brother into some sort of hellish fire pit. I think at this point Girl is sucked down with him because Boy despairs and tries to kill himself. The rats come to his rescue though, and offer to create some sort of one-night-only bridge between their world and hers, so that Boy and Girl can reunite. They are slowly pushed towards each other on flowery platforms, then hug and sing meaningfully, and eventually are pulled apart again, but don't seem sad.
The apricot tree spirit sings a closing song, and the curtains close. But then, they rise again! With a medley! Recapping all the previous songs! Plus more dancing! This is the best way to take a bow I've ever seen.
My cousin says that a lot of Koreans are very xenophobic and resistant to the numbers of immigrants coming in from SE Asia to work. The musical was given funding by the city of Seoul, and she thinks that that's why there was such a strong message about cultural understanding and acceptance. There were also brief allusions to Japanese-Korean marriage and homosexuality. Ever the cynic, I had expected a boring, traditional Korean love story full of sadness and women collapsing in despair. Despite the two moony-eyed lovers staring longingly across a bifold poster at the theater's entrance:

I instead found a mostly uplifting and vastly entertaining piece with a lot of relevance to both modern Korean society and to people everywhere in this ever-shrinking world of ours. Secondary lesson learned: stop judging books by their covers.