Best known for her roles as the tone-deaf doctor Chae Song-hwa in “Hospital Playlist” and the cold-hearted journalist in “Connect,” Jeon Mi-do shines brightest on stage. After earning Best New Actress at the inaugural Korea Theater Awards in 2008 for “Agnes of God,” she went on to win Best Actress at the 1st and 2nd Korea Musical Awards for “Sweeney Todd” (2017) and “Maybe Happy Ending” (2018). Today, Jeon is a versatile star who excels both on stage and on screen.
Her return to the musical “Werther” as Lotte after a decade came as a surprise. Known for embracing the challenge of crafting characters from scratch in original productions, she rarely revisits previous works. Aside from a few notable productions like “Bungee Jumping of Their Own,” she has always focused on moving forward. Yet, this marks her third time performing “Werther.”
In an interview at a café in Seoul’s Daehangno, Jeon explained that it felt like “unfinished homework.” She added, “Ten years ago, I couldn’t confidently say I fully understood this story. There are still so many things I feel I didn’t uncover or express back then.”
Jeon shared how Werther, like her favorite Chekhov play “The Seagull,” evolves with age. “When I first watched the premiere of ‘Werther’ as a university student, I thought Lotte’s fiancé, Albert, was the villain,” she said. “I was caught up in Werther and Lotte’s unfulfilled love, thinking, ‘Just let them be together!’ But when I performed the musical in my 30s, Albert seemed pitiful, and I saw Lotte and Werther as selfish. Now, in my 40s, I notice that Albert ultimately hands Werther the gun. Perhaps it shows that they’re all vulnerable, fragile humans.”
Jeon finds joy in how the interpretations of veteran cast members mesh with those of newcomers. “One actor portrays Albert’s colder side, which seemed warm-hearted. We’re exploring the subtle dynamics between Lotte and Albert as an engaged couple. Through rehearsals with fellow actors, I’m discovering how much more nuanced this piece can be,” she shared.
Her stage career rarely featured princess-like characters like Lotte. She played Aldonza, a hardened tavern servant in “Man of La Mancha,” a bedridden woman longing for death in the play “Bea,” a female Mephistopheles in “Mephisto,” and the unrealistic villain Mrs. Lovett in the bloody musical “Sweeney Todd.”
Jeon is the type of actor who lets roles shape her, fully immersing herself in each character. “I enjoy taking on extremely different roles,” she laughed. “When I’m offered similar roles one after another, I think, ‘No, that’s too ordinary.’”
Jeon shared that during her college days, people held stereotypes about her due to her delicate appearance and physique. “I wanted to break those preconceptions. In college, I took on any role, whether minor or supporting, and as a professional, I enjoyed transforming into various characters. It was like saying, ‘Look, I can do this too!’” This adventurous attitude helped her career thrive. After portraying a coarse, chatty character in Chekhov’s “The Proposal,” she was cast as the foul-mouthed, murderous Mrs. Lovett in “Sweeney Todd.”
When asked about her ultimate acting goal, Jeon mentioned the late Jang Min-ho’s play “Snow in March.” “Longtime stage actors inevitably develop theatrical habits in their voice or delivery, but he had none of that. His performance was so captivating that you couldn’t help but lean forward in anticipation every time he stepped on stage. Watching him, I realized what it means to reach the pinnacle of acting. After the show, I thought, ‘I want to deliver a performance like that when I’m in my 80s,’” she said. Jeon still cherishes her signed copy of “The Seagull” script, which she received from Jang after the performance.
Despite exploring new challenges, Jeon believes her final destination is the stage. “The stage is where I love myself the most. I like myself best when I’m there. It’s where I become my most magnificent self,” she said.
