As part of the Seoul Arts Center (SAC) On Screen 2025 programme, Nigerians were treated to a Korean musical adaptation of Robert Louis Stevenson’s popular global literature, Treasure Island.
Screened at the Korea Culture Center Nigeria (KCCN), SAC On Screen features a series of recorded theatric performances aimed at promoting and making traditional Korean and global classical performances available to all Koreans, irrespective of their geographical location.
The center began the screening of SAC On Screen less than a decade ago as part of its education of the Nigerian public of Korea’s traditional and contemporary performative arts. Treasure Island is arguably the first non-Korean SAC production screened at the center, post previous screenings of theatre and ballet pieces as Sinchung, Empress Myeongseong, Long Live Women and Into Thin Air.
Korea’s adaptation of the popular novel, situates the tale of piracy in contemporary times, with action taking place in four chapters, within Hispaniola (ship) and deserted islands where ship members are shipwrecked on their voyage to the N of N.N.E in their hunt for the coveted treasure.
Special commendation goes to the stage design which mimicked the inside of a ship convincingly; to the director who ensured the judicious use of the stage, and the actors themselves, in particular, the female who played the lead character 12 year-old Jim Hawkins, and the actors who played the lame John Silver, and Dr Livesey, who stood out based on the strength of their characters alongside a very impressive cast who did their characters justice. Likewise, the costumier whose skill lent an individuality to the cast members, yet an unforgettable spin when same cast reprised roles of pirates.
Further enhancing the believability of the production is the special effects deployed. There is the projection of a swirling blue water creating the effect of a raging stormy sea; the projection of a smoky, blueish video clip a representation of Jim’s dreamy state while shipwrecked, and the slow-motion fighting scene aboard ship, with the gunshot effects hitting Captain Smollet. The latter is also a testament to the actors’ superb physicality further witnessed by their smooth weavings in and around the stage.
The director’s choice to encapsulate majority of the plotlines through songs and narrations, within the two-hour production, was plausible. However, it is the breaking of the fourth wall, by having the actors not only address, but weave their way through the live audience, in addition to making visible the production’s musical band, which lent a concert-like feel to a particular part of the performance, proved more effective in keeping the audience nodding off.
Songs were deployed in the introduction of the characters prior to their entrance onstage, and as a sad-reflective closer by Hawkin’s recounting and weighing the cost of men, longtime companion lost to greed, mutiny and the blackspot in the pursuit of sought treasure.
In all, ‘Treasure Island’ is a commendable performance worth watching for its theatricality, if not plotlines and an opportunity to witness a staged musical adaptation of the globally loved fiction of piracy and honour code among pirates.
Speaking to the media at the event, Supervisor SAC On Screen, Gwang Min Lee, revealed the center’s intention to make the event a monthly part of its programme throughout the year.
“Through movies we can communicate and show them how films can be a bridge between Korean and Nigerian cultures.”
While the center’s plan to furthering its cultural relations with Nigeria via film, are in the works, Lee said, the 2025 edition of the K-Pop Dance and Singing Contest will take centerstage within two weeks.
