Helen Park was in bed at her New Jersey home when her talent agent texted her about her Tony Award nomination. Park, the first Asian-American female composer on Broadway, was nominated in the Best Score category for the Korean- and English-language musical “KPOP,” which follows three K-pop acts challenged by strict routines and personal struggles as they preparing for a US concert tour.
“Waking up to the news was amazing,” said Park, who co-wrote the show’s score and lyrics with Max Vernon. The production also received nominations for Best Choreography and Costume Design of a Musical.
The Tonys recognition was significant, as “KPOP” struggled at the box office, closing after just 44 preview performances and 17 regular performances.
In an interview on Tuesday, Park reflected on her Broadway experience and the importance of productions that embrace the Asian-American experience. These are edited excerpts from the conversation.
How does it feel to be nominated alongside other members of the “KPOP” creative team?
A lot of us have been working on this show for eight years and to have people recognized it really feels like a celebration and acknowledgment of the hard work everyone put into it.
In a Playbill guest essay, you mentioned that you took your son to “KPOP” and that his favorite song was “Halfway” sung by the biracial character Brad. How have Asian and Asian American audience members reacted to the show?
Our show really spoke for them, the experience of being an immigrant and being between cultures. I am surrounded by those people. I am one of those people. My son is biracial. I belong to both American culture and Korean culture, and I speak both languages and sometimes I feel like I don’t have my own language.
How have you felt since the closure?
I’m still struggling with the closure of the show because I think everyone who came to the show really enjoyed it. It was a celebration of the genre and the diverse stories within the community of K-pop stars and Korean people.
We saw the potential and growth of love for the show after we opened. The fact that it was still too late to continue the show – that was very painful.
Is “KPOP” Returning to Broadway?
I certainly won’t say no if someone wants to return it! But it feels like a step forward.
There are reasons why K-pop is so loved across languages and cultures, and we wanted to capture that. This recognition certainly feels like an encouragement to keep going. The more authentic we are to our respective cultures and stories, the richer the Broadway soundscape and scenery will be.