(Review by Homepage Webmaster)

The Last Empress is a Korean original musical based on Yi Munyeol's novel Fox Hunting, which depicts the tragic assassination of Empress Myeongseong of the Joseon dynasty. Julian Kim plays Emperor Gojong in the 30th anniversary production in Korea. Notably, The Last Empress was the first Korean musical to be performed at both Lincoln Center’s David H. Koch Theater in New York (1997) and Hammersmith Theater in London (2002), marking a significant achievement for Korean musical theater on the international stage.

As the story portrays the decline of the Joseon dynasty, interpretations of Empress Myeongseong’s legacy have varied. While some view Empress Myeongseong as a leader who resisted foreign influence, a significant historical perspective criticizes her political strategies and accuses her court of corruption. Although Emperor Gojong is often portrayed with some sympathy, as the reigning monarch, he ultimately held the final responsibility for the nation's fate, including its loss of independence during a turbulent period in Korean history.

The musical spans nearly 30 years, following Gojong’s journey from a youthful and inexperienced ruler to a king faced with difficult decisions amid growing international pressure. Early in his reign, Gojong is depicted as immature and playful, favoring the company of palace maids. While he occasionally asserts his authority, his biological father, Heungseon Daewongun, dominated state affairs in Gojong’s early years. Later, Empress Myeongseong’s influence over political matters is shown to frustrate Gojong, who frequently appears powerless in critical moments.

As the main protagonist, Empress Myeongseong is the focal point of much of the musical’s dramatic arc. Gojong’s role is comparatively limited, with most of his appearances occurring in brief phrases within ensemble numbers, duets, and trios. His solo number, "Missing the Queen" (그리운 곤전), serves as his most emotionally charged moment, expressing his grief following the Empress’s retreat into hiding.

Julian Kim’s portrayal reflects Gojong’s character development across different stages of his life. As the young, newly married Gojong appears alongside palace maids, Julian’s voice carries a youthful, boyish tone in a number reminiscent of traditional Korean folk song melodies. His voice later stands out in the Martial Examination scene, where Gojong bestows a jeweled sword, delivering clear, tenor-like high notes that contrast with his earlier softer tone.

When confronting his father to defend Empress Myeongseong’s position, Julian’s voice adopts a fuller, more resonant baritone tone, reflecting Gojong’s determination. In his spoken dialogues, Julian effectively adjusts his breathing and phrasing to present the King’s distinct way of speaking, balancing authority with introspection.

Compared to his previous roles in The Phantom of the Opera and Natasha, Pierre & The Great Comet of 1812, where dialogue was minimal and the music was largely sung-through, The Last Empress offered Julian Kim a significant opportunity to demonstrate his acting abilities in a musical with substantial spoken lines. While Julian may personally feel there are more challenging roles to tackle, his portrayal of a monarch — blending vocal authority with emotional depth — demonstrates his growth as a musical actor.

In Act 2, Julian’s voice deepens to reflect Gojong’s aging, adopting a weightier, more authoritative tone. His performance effectively conveys Gojong’s internal conflict and emotional strain as he navigates difficult decisions regarding the country’s fate. A particularly memorable and heartwarming moment comes when Gojong sings tenderly to his son, the Crown Prince, alongside the Queen — a rare warm contrast amid the musical's otherwise somber tone. Here, Julian’s warm and resonant voice stands out as he sings solo with a clear head voice, later blending into a higher melody during the duet.

As Gojong resolves to disband the royal army, Julian’s voice further matures to emphasize the 30-year narrative span. This development is particularly evident in the trio number 'I Will Bear the Weight of Fate' (운명의 무게를 견디리라), performed by the Emperor, Empress, and Colonel Hong. In this piece, Julian carries the main melody in the final section, maintaining a rich baritone tone with clear diction and precise pitch.

Emperor Gojong’s final appearance is marked by the brief solo "I Ask Heaven and Earth" (궁금하다 황천후토), where Julian Kim’s performance adopts a thicker baritone style, portraying a grieving husband mourning the assassination of Empress Myeongseong.

In The Last Empress, Julian Kim demonstrated that he is well-suited to historical musicals that require dignified dialogue delivery and commanding stage presence. Notably, he appears to be exploring new vocal techniques to enhance subtle emotional expression. While relying solely on powerful vocals may be a safer route to impress audiences, Julian seems to be thoughtfully experimenting with microphone techniques and refining his vocal delivery to suit the auditorium’s acoustics.

Note: The reviewer translated the titles of musical numbers where official English titles were unavailable.