Created by the Korean Poem and Star Theatre Company, 1457, The Boy at Rest is a musical requiem for boy King Danjong, who was the sixth king of Joseon Dynasty. I had the pleasure of watching the show twice, as it was too good not to come back and see it again!
In the world of 1457, The Boy at Rest, the Lion King and Hamlet-esque story is fully told, and accompanied by their original songs, in Korean – with audiences encouraged to read the English subtitles shown above on the giant screen behind them.
Combining emotional musical ballads, comedic asides from the Dokkaebi (goblin-like creatures from Korean folklore), and phenomenal acting, the company professionally displays a semi-autobiography, following the tale of Danjong’s three-year reign as king at the young age of ten. Overthrown by his jealous, ambitious uncle (who defies what fate has already decided), Danjong (Kim Hyeon Ho) is sent to an island to suffer by his lonesome. While the ex-king’s followers sacrifice everything to protect him, his uncle decides to end his life and poison him.
There are consistent themes of the natural world allowing a sense of calm amidst the chaos, as Danjong’s lover, Queen Jeongsun, back home reminisces and mourns for their relationship. She beautifully preserves his memory of him in the winds that blow in the countryside and the trees that sway in the breeze, dyeing her clothes purple for 64 years in mourning. The play beautifully describes itself as “a love [requiem] defying time”, with “every tear and smile echoing through history”.
If you’re a fan of period K-Dramas, alike to Jeongnyeon: The Star is Born, Hwarang, and The King’s Affection, this is the perfect show for you! The show and the cast’s acting is so well-done that I felt simply like I was back home on my couch, watching my comfort K-Drama on the TV. The actor who plays a character named Sam-moon, who is Danjong’s right-hand man, particularly acts in a way that K-Drama casting directors should be reaching out to him. And Danjong’s actor himself is magnificent in the sense of how he embodies his character, through to his voice and how he relays himself as the young, victimised king.
Another important thing I have to mention is how the three Day Dokkaebi characters in green, red, and blue, have a brilliant control of the stage and the audience. The trio bring such a bright burst of energy onto the stage, whether that be an emotional or humorous scene. When they harmonise with the rest of the cast, the united voices become much stronger and empowered, making me feel patriotic for a country I don’t even originate from.
I’m proud to say it made me laugh, cry, experience heartache, and cheer loudly all at once! And I think I’ll forever be humming to the play’s happier songs, like ‘Welcome, This Is Yeongwol’. The team’s adornment of traditional Korean cultural-wear, and playing traditional instruments live throughout, were the highlight of the show in my opinion — as they danced and moved with the music, and all you can see is a flurry of bright colours from their clothing swaying with their movements. This musical blend of modern melodies with traditional Korean percussion and folk rhythms makes this an instant hit for Fringe 2025.
1457, The Boy at Rest is running until 24 August at Studio One at Assembly George Square Studios.
Buy tickets here.
Image by Wendy Niblock, provided to The Student as press.