Summary

Introduce

(Subtitle: A New Movement of Old Traditions–Maeng)

The third collaborative effort between the master satirist Oh Young-jin and master parodist Cornerstone!
“If it’s the third performance, well, there has to be a reason for it.”—Director Lee Cheol-hee

A new paradigm for acting by consummate artists who embody all the sounds of traditional instruments, living organisms, and non-living objects.

You climb with all your might, but your hands are empty.
“Human life…it’s rather ‘maeng,’ eh?”

In Maeng, the satire and metaphors of the original A Happy Day of Mr. Maeng are carefully selected and aimed in both direct and meta ways at their intended targets.
“Shush! If anything suspicious reaches the ears of the in-laws, not only I but this entire audience will be in trouble, and this theater will have to close. I’m not joking. You hear me?”—from A Happy Day of Mr. Maeng

Information

Living in the lower part of the village, Mr. Maeng is not satisfied with his title “jinsa,” one purchased rather than earned, and covets a higher rank. Eventually, he decides to marry off his daughter to the son of Minister Kim living in the upper part of the village, even without having met the young man.
Gapbun, his daughter, finds herself single once more and is filled with excitement. However, Ipbun, the young servant, is somewhat disappointed with this turn of events.
As the wedding day approaches, a young man visits Mr. Maeng’s house and conveys a startling revelation. He whispers that the son of Minister Kim has a serious defect!
In a state of shock and disbelief, Mr. Maeng and his wife, Sylvia Han, make plans for an unusual celebration. . . .