The original Korean musical “Maybe Happy Ending,” which debuted on Broadway in New York, made headlines after sweeping six categories at the prestigious Tony Awards on June 8 (local time), including Best Musical. The show’s creative duo, writer Park Chun-hue and composer Will Aronson, wins for Best Book of a Musical and Best Original Score, respectively, demonstrating that their “creative challenge” has been recognized even in the birthplace of musicals.

In a written interview with Korean media on June 13, Park said, “I’m not sure why the show was loved by audiences both in Korea and abroad.” Yet he added, “I’m proud and happy to have completed this 10-year long marathon-like journey with ‘Maybe Happy Ending’ in both Seoul and New York.” The following is a slightly condensed version of the questions and answers, compiled by the musical's production investor, NHN Link.

— What does ‘Maybe Happy Ending’ mean to you, and why do you think it was so well received?

“It holds great meaning as the first original story that Will Aronson and I created together. It was both exciting and daunting to build an entirely new world and characters from scratch. I’m not sure exactly why it was so loved. Since we began writing in 2014, all the way to the Broadway opening last fall, we kept refining it to improve the work’s completeness. I’d like to believe that effort made the difference.”

— What was the day of the Tony Awards like for you?

“I didn’t realize until now that theater, like film, has its own ‘awards season.’ Over three months, we attended countless events and ceremonies to promote the show. I heard that visibility is everything, so despite being naturally introverted, I made an effort to shake hands and show up. As the Tonys drew near, it felt like approaching the finish line of a marathon. I felt everything at once, including fatigue, excitement, anxiety, and anticipation. The awards ceremony itself took about seven hours, from the red carpet to the final Best Musical announcement. I don’t think my life as a creator will change drastically after winning. I’m just happy to wrap up this long journey with a sense of pride.”

— How was the Broadway production different from the Korean version?

“There were major changes in direction and staging due to the scale differences. (The Korean production was staged in a small theater, whereas the U.S. version played in a 1,000-seat venue.) In Korea, there were almost no set changes, while the Broadway production used numerous transitions and effects. The cast and orchestra were also expanded, and some scenes that were only implied in Korea were shown more directly on Broadway. Conversely, some lines and musical numbers were shortened or cut.”

— Any memorable audience reactions?

“There was an American audience member who lived far from New York and bought tickets to ten shows while vacationing in the city. ‘Maybe Happy Ending’ was the fifth show he saw, and during the performance, he felt such a longing for his wife back home that he sold the rest of his tickets and changed his flight just to return early. He then planned to return to New York with his wife to see the show again as a Valentine’s Day gift. That story was the highest compliment I could ever receive.”

— What’s the secret behind your long creative partnership with Will Aronson? (The duo is affectionately known as ‘Will-hue’ in Korea.)

“In Korea, Will is often referred to as ‘the composer,’ but he has always co-written the scripts with me. Whether it is notes or words, we are both writers. Even if I come up with the original idea, we build the story together, decide the tone and emotion of the music, and talk more with each other than anyone else every day. We've been close friends for 17 years, and we share similar values and sensibilities. We’ve gone through the pain, joy, and growth of each project together.”

— Many of your works, like ‘Maybe Happy Ending’ and ‘Ghost Bakery,’ are set in Korea. Why is that?

“As a writer, I naturally want to tell stories rooted in the world and emotions most familiar to me. Living in New York made me think more deeply about my identity as a Korean. Through shows like ‘Il Tenore’ set in the 1930s and ‘Ghost Bakery’ in the 1970s, I wanted to present Korean audiences with worlds that feel familiar yet strangely distant. For international audiences, I wanted to offer a setting that feels unfamiliar but curiously relatable.”

— You’ve mentioned the possibility of U.S. productions for ‘Il Tenore’ and ‘Ghost Bakery.’

“We plan to revise the scripts and lyrics into English, and we still need to find the right producers and directors in New York, which is a complex process. I also wrote a short film a few years ago about a Korean couple living in New York. I kept putting it off while focusing on theater, but I now feel strongly that I must bring that film to life before it is too late.”

— What is your ultimate goal as a writer? What kind of creator do you want to be?

“I just want to be someone who continues working consistently and earnestly as long as I feel a strong impulse to tell stories and share music. I’ve now spent nearly half my life in both Seoul and New York. As a creator navigating between two cultures and languages, I want to make stories that resonate with many people and carry meaning.”

— Any words for young Korean creatives?

“Creating theater often takes more than five years, which is longer than making films or TV series. Yet creators are generally treated with far less regard in this field. It is not a job you enter for quick success. Since the Korean musical industry hasn’t been around long enough, there aren’t many ‘textbooks’ to follow. Instead of chasing trends, creators need to write stories and music with sincerity, and producers must approach their work with a sense of mission for the process to endure.”

“Maybe Happy Ending” will return to Korean audiences for its 10th-anniversary production at Doosan Art Center in Seoul starting October 30. Park also plans to prepare new stagings of his works “Il Tenore “and “Ghost Bakery,” which premiered in Korea last year.

— A message to audiences awaiting the Korean return of ‘Maybe Happy Ending’?

“As we move to a slightly larger venue, there will naturally be some visual changes. We’ll refine the production to fit the new space while reflecting on our 10-year journey. I also hope some of the actors from past productions will be able to return to the stage. We’ll do our best to create a performance that brings joy not only to Will and me, but also to everyone who has accompanied this journey and to the audiences who have connected with the show over the past decade."