In April and May, the heartwarming story "A Thousand Blues," the bestselling SF novel by Cheon Seon-ran, found new life through different adaptations by two performing arts troupes -- the National Theater Company of Korea and the Seoul Performing Arts Company.

First published in 2020, the story envisions a Korea of 2035, where humanoid robots are commercialized. The plot weaves two storylines. One follows Collie, a humanoid jockey, and his partner horse, Today. A researcher's mistake leads to the robot C-27 being equipped with a chip containing a thousand words, enabling it to interact with humans and Today.

The second centers on a family: Bo-gyeong, a mother, and her two daughters, Yeon-jae and Eun-hye. Yeon-jae, with a keen interest in robots, discovers the abandoned Collie. Yeon-jae and Eun-hye strive to help Collie, who is on the verge of being discarded, and Today, who faces euthanasia due to worn-out cartilage.

The biggest question when the two production companies announced their lineups was how they would bring the robot jockey and the horse of "A Thousand Blues" on stage.

Seoul Performing Arts Company's puppetry

Directed by Kim Tae-hyung, the musical adaptation of "A Thousand Blues" has artfully navigated the challenge of bringing robotic characters to life on stage with analog craftsmanship.

The humanoid jockey Collie is created as a 160-centimeter handcrafted puppet with movable joints. An actor controls Collie's head while delivering dialogue and singing, while two other puppeteers control its body.

Today, the horse is also brought to life through a puppet the size of a real horse. Two puppeteers move the front and back legs and another controls the head. Their nimble movements convincingly simulate the horse's running during the racing scenes.

In the interview with The Korea Herald, Kim said, "We researched robots and mechanical devices that could be employed with current technology. Although it might be interesting to bring actual robots, we thought it would be difficult to convey the message of the original work. After much deliberation, we decided to use puppets to focus on emotional depth."

The production's charm lies in the striking contrast between the traditionally made puppets and the vibrant, futuristic stage set, enhanced by constantly moving LED screens. Adding to the futuristic vibe are commercialized robots, such as Unitree Robotics' quadruped robot GO2, Boston Dynamics' four-legged Spot, and South Korean robotics company Dogu's autonomous patrol robots Iroi and Patrover, all making appearances to enrich the depiction of a technologically advanced society.

Seoul Performing Arts Company’s “A Thousand Blues” runs at the Seoul Arts Center's CJ Towol Theater until May 26. English subtitles are available.

National Theater Company of Korea's robot as lead role

In April, the National Theater Company of Korea ventured into uncharted territory with its production of "A Thousand Blues" at the Hongik Daehakro Art Center, marking a bold attempt for the company: casting an actual robot in the lead role.

Standing at 145 centimeters and colored like broccoli, Collie was created as a real robot, designed to mirror the original work. The robot’s LED face featured adjustable eye brightness, and changed its emoticon-like eyes into different expressions. Its upper body, arms, wrists and neck joints were fully articulated, according to the company. Collie delivered pre-recorded lines through a speaker embedded in its chest, speaking in a mechanical, gender-neutral tone.

On stage, the robot seamlessly handled conversations with human actors. A paired human actor complemented Collie's slight gestures and dynamic emotional lines by delivering its inner thoughts and monologues. This interplay felt remarkably natural, with the robot subtly turning its gaze or moving its limbs in response to human performances.

The racing horse, Today, was depicted through light projections from the ceiling onto the stage floor. Actors interacted with these beams of light, touching them as if comforting Today, blurring the lines between humans and non-humans, and between the living and the inanimate.

The production also employed projection mapping and real-time video transmission to enhance the sci-fi futuristic setting.

The production did have an unpredicted challenge before the premiere. Originally scheduled to debut on April 4, the robot Collie suddenly stopped during a rehearsal on April 2, and a circuit defect was found, leaving the company to postpone the opening date to April 16.

Bringing SF to the stage

The two productions have demonstrated that the science fiction genre can be successfully adapted and interpreted for the stage. NTCK’s production sold out all performances, totaling 2,090 seats, in a single day, and the SPAC is enjoying near-sold-out runs.

Both directors highlighted the power of the original storytelling.

Director Kim said, “This is a story about people who are unable to, or afraid to, take the next step. I focused more on the human characters, robots and animals. We want to convey that it’s okay to walk slowly, that it’s not wrong, and that you are not left behind.”

Director Jang Han-se of the NTCK added, “We can easily connect with each other anytime, in an era of hyper-connectivity. Paradoxically, we are becoming more isolated and lonely. I think the audience can relate to this story and feel the warmth of solidarity, reminding us that we are all connected.”

The English edition of the book is set for release next year by Penguin Random House.

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Literature is a wellspring of inspiration across various formats, including film, drama series and stage productions. In this series, The Korea Herald explores the intersection of literature and its adaptations, reviewing and analyzing the transformations of original text into imagery. -- Ed.