Choi Jae-rim is building self-esteem, onstage and off

Choi Jae-rim, a celebrated figure in South Korea’s musical theater scene, is taking a bold step toward artistic independence by starring in Yumi's Cells, a new musical based on a popular webtoon. In this production, he portrays 109, a unique character representing self-esteem given physical form. Unlike traditional roles, 109 is entirely original, crafted specifically for the stage with no direct counterpart in the source material. The character embodies Choi’s personal philosophy on self-worth, which he defines as belief supported by tangible evidence. Choi, who has long been known for his commanding presence on stage, has spent nearly two decades performing in well-known musicals such as Rent, Chicago, and Les Miserables. His career has primarily revolved around licensed productions, often reinterpreting international hits for Korean audiences. However, in recent years, he has expressed a desire to shift focus toward creating original content. Yumi's Cells marks a pivotal moment in that journey, offering him the opportunity to apply his extensive experience toward developing a distinctly Korean theatrical piece. The process of bringing 109 to life was unlike any previous role Choi has undertaken. With no existing blueprint to follow, he approached the character from within, drawing upon his own understanding of self-esteem. “How my character shows up onstage isn’t that different from how I actually am,” he remarked. His portrayal involves constant movement, loud, energetic, and unfiltered, mirroring the raw intensity of emotions before they are processed. As the performance progresses, 109 evolves from instinctive action to thoughtful reflection, embodying the journey from impulse to self-awareness. Choi’s commitment to authenticity extends beyond his craft. During a recent group interview in Seoul, he discussed his approach to personal growth and accountability. He described a period of public scrutiny several years ago, during which he faced multiple controversies related to overlapping casting assignments. Rather than deflecting criticism, he chose to analyze the situation objectively. “Calling it self-reflection feels like the wrong word,” he said. “It wasn’t something that should have happened, but once it did, there wasn’t much choice but to accept it.” He emphasized the importance of continuous self-evaluation, even after seemingly resolved issues. For instance, when he noticed a decline in his vocal clarity earlier this year, he promptly resumed vocal training, calling it “one of those efforts.” His decision to join Yumi's Cells was not made lightly. Despite his reputation and success, Choi admitted the transition posed challenges. “There were points I went back and forth on,” he said. Yet, the prospect of contributing to an original project resonated deeply with him. He saw it as a chance to merge his accumulated knowledge with the goal of shaping a truly Korean musical from the ground up. “I wanted a real shot at something original,” he explained. “I sought a chance that could test whether everything I’d learned could actually feed into how a Korean musical gets built, not just remounted.” The musical, which premiered recently, represents a significant departure from the familiar structures of licensed productions. Choi’s involvement underscores his ambition to push boundaries and redefine possibilities within the Korean theater landscape. While the final stages of the production remain under wraps, the creative process has already sparked considerable interest among industry insiders and fans alike. As the run continues, Choi’s vision for 109, and by extension, his broader artistic aspirations, will undoubtedly shape the narrative of this ambitious endeavor.