[Starting]

In New York, the heart of the world's art scene and a fierce concrete jungle, there is an Asian woman walking the cold streets of Soho. Carrying a heavy script bag, she faces waves of endless auditions and rejections with her whole body, yet her gaze is sharper and more resolute than any light in the jungle. This is the story of rookie actress Kim Chae-yeon, who garnered attention as the only Korean to be admitted to the acting department at Pace University in the U.S., and who landed a leading role on an Off-Broadway stage immediately upon graduation.

 

Her career is like an interesting variation. A girl who had majored in classical piano for over a decade within the strict rules of musical scores was captivated by a musical stage she stumbled upon during high school, completely changing the track of her life. She put down the keyboard and began to recite monologues, making "herself" the only instrument in the world.

 

However, she did not remain a foreign actor passively waiting for someone to choose her. When faced with local barriers against Asian artists, instead of becoming discouraged, she volunteered to become a "planner," taking the microphone herself and setting the stage. A multi-talented artist boldly expanding her territory across the stage, screen, and planning realms while traveling between New York and Los Angeles. We took a look into the deep and passionate artistic world of actress Kim Chae-yeon, who creates her own door and walks through it rather than waiting for a miracle. [Editor's Note]

 

■ Actress and Artist Kim Chae-yeon ○ Personal Profile Name: Chae Yeon Kim Activity Base: New York (NY) and Los Angeles (LA), USA Affiliated Crew: SyncStage Productions Co-planning and AAPI Artist Network Crew   ○ Education Graduated from the Acting Department at Pace University, USA At the time, I was admitted as the only Korean successful candidate in the Department of Theater and Film.   ○ Special Skills & Background Classical Piano (Majored for over 10 years): Strong in performing roles in musical plays and musicals based on musical sensibility and technique. Writing columns and essays: Currently serializing 'Actress Kim Chae-yeon's New York Story' in local media (News Korea).   ○ Major Acting Career (Acting Credits) 1. Stage (Theater & Musical) Off-Broadway Musical *Blue Blind* – Lead role of 'Sia' Musical *Miss Saigon* – Role of 'Yvette' (The only Korean actor in the Suncoast Broadway Theatre production) Device Musical 《Nine Shadows in Bloom》 – Role of Pianist 'Lou' Off-Broadway play *Five Times in One Night* – Role of 'Eve' New York 54 Below Cabaret Production – Participated as a performer in *What's Been Said Before*, *The Golden Project*, etc.   2. Screen (Film) Short film *Bra Top* – Lead role (Winner and official screening at the Berlin Indie Film Festival, Brussels International Film Festival, etc.) Independent film *The Bread and Wine* – Lead role Independent film *The Clementine* – Lead role   ○ Planning and Production Experience (Creative Production) Co-planning and overall management of the 《AAPI Playlist Volume 1》 Cabaret Series Planning performances highlighting Asian creators and artists (such as Lee Hae-chan of the musical 'Hadestown' and Shin Joo-won of the 'Squid Game' OST) and achieving near-sold-out records   ▲ Actress Kim Chae-yeon

 

[Part 1. The Beginning and Challenges of an Actor]

Q1. You majored in classical piano in Korea for over 10 years before discovering musicals in high school and changing your career path to acting. I am curious to know what the decisive moment or work was that changed your life at that time.

A1. "My life as a child revolved entirely around the keyboard. Sitting at the piano for five or six hours every day to perfectly reproduce the notes written on the score without the slightest error was my duty and my entire life. I had pursued classical music under very strict and disciplined rules, but a musical stage I happened to see during my high school years completely shook my emotional world."

I remember it clearly. The actors on stage went beyond perfect rules, pouring out raw, unrefined, and overwhelming emotions directly into the audience using their entire bodies and voices. When I saw the audience crying and laughing along with the actors in the theater air, exchanging massive energy in real time, my heart began to pound wildly. An intense desire welled up inside me: "Ah, I want to tell stories directly to people, using my very existence as an instrument, rather than going through the medium of a musical instrument." The sense of liberation and excitement I felt on my way home that day ultimately became the decisive turning point that completely changed the trajectory of my life.

 

Q2. You were admitted to the acting department at Pace University in the U.S., which has produced hot actors such as Christopher Briney and Cooper Koch, as the 'only Korean admitted student' at the time. What was the driving force that enabled you to endure the fierce entrance exams and college life in an unfamiliar land?

A2. "The joy of receiving the acceptance letter was short-lived. From the very first day I entered the classroom, a massive concrete wall of language and culture stood before me. Looking around, everyone except me was a native speaker born and raised locally, reciting Shakespearean monologues in their mother tongue. For me, every day was a struggle for survival, even just to quickly interpret the text and grasp the nuances during class."

The driving force that kept me going was solely 'fierce stubbornness' and 'focus on the essence.' I held the belief that, 'even if my language skills are less refined than theirs, the essence of human emotions such as lack, wounds, and love is no different anywhere in the world.' While others read the script once, I read it five or ten times, analyzing the subtext hidden behind the words. I built a solid core within myself by being the last to turn off the lights in the rehearsal room every day. The greatest strength that sustained me was the belief that 'my unique background and sensibilities would become my own weapon here that no one else could imitate.'

 

 

 

 

Q3. You immediately took on the role of 'Sia' in the Off-Broadway musical 'Blue Blind'. You had to portray the deep emotional arc of a character who sacrifices for her father right from your debut; I am curious if you still remember the atmosphere and sensations from your first time on stage.

A3. "I probably will never forget the atmosphere of that day. It was the dream stage of Off-Broadway, and right after graduation, I was waiting backstage as the lead, 'Sia.' My heart was pounding as if it were echoing throughout the entire theater. The tension reached its peak, to the point where my fingertips grew cold."

However, the moment the cue signal dropped and the stage lights came on, the surrounding noise and tension vanished in an instant, like a vacuum, almost unbelievably. Only the cold reality and atmosphere that 'Sia' faced within the play remained. When I delivered my lines expressing the heavy emotions of deep affection and sacrifice toward my father, I could feel the audience in the dark auditorium holding their breath and following my breathing. The moment the applause erupted during the curtain call after the performance, I got goosebumps all over my body; it was my first experience of learning with my whole being that an actor is someone who must speak the 'truth,' not lies, on stage, and that it is a weighty position entrusted with the responsibility of the audience's time.

 

 

 

 

[Part 2. Roles on Stage and Screen]

Q4. You played the role of Yvette as the only Korean actor in the production of 'Miss Saigon' at the Suncoast Broadway Theatre. What was the most significant cultural or artistic lesson you learned while working alongside local Broadway veteran actors?

A4. "Even amidst long-running performances repeated dozens or hundreds of times, the actors there acted with such vivid life and passion in every moment, as if they were receiving the script for the very first time. I was truly struck by their artistic impact as I witnessed their rigorous self-management and professionalism, as they maintained perfect freshness on stage every day without falling into mannerisms."

Another thing I learned was the 'confidence' in how I treated myself. At first, I unconsciously felt intimidated by the thought that I was the only Korean. However, my local colleagues did not view me based on my race; instead, they fully respected me as an attractive fellow actor possessing a delicate and unique energy that they themselves lacked. I painfully realized that the stage is ultimately the most equal world, breaking down all barriers of nationality, skin color, and language, where communication takes place solely through the talent and genuine energy an actor exudes.

 

Q5. In the play 'Nine Shadows in Bloom,' you played the role of 'Lou,' a pianist who pursues perfection. How did your personal experience of majoring in piano for a long time influence your nuanced interpretation of this role?

A5. "As soon as I read the script, I felt a lump in my throat, thinking, 'This is just my story.' The character embodied the intense loneliness and wandering of my own adolescence. I already remembered the psychological deficiencies that 'Lu' feels—the pressure not to miss a single note, the indescribable loneliness felt backstage, and the self-destructive frustration when failing to be perfect—not just as a theory, but with every cell of my body."

Thanks to this, I was able to go beyond simply ‘pretending’ to play the piano well or acting on stage; instead, I could densely infuse the genuine deficiencies and aspirations of my own life into every subtle tremor of ‘Lu’s’ hands as she caressed the keys and every sharp gaze fixed on the sheet music. It was a truly magical and grateful experience, where the time I spent crying and laughing in front of the piano in the past ultimately returned as the most powerful and beautiful weapon on this new path of an actor.

 

 

 

 

Q6. You garnered global attention, including at the Berlin Indie Film Festival, for your short film 'Bra Top'. You realistically portrayed the role of an immature Gen Z daughter; I am curious to know what specific charms stage acting and film acting in front of the camera hold for you, Chaeyeon.

A6. "The appeal of the two mediums is truly polar opposites, so it is always thrilling. First, stage acting is like a 'marathon' that runs without stopping. There is a massive catharsis in breathing the same time and space as the audience, and completing the narrative from the beginning to the end while the actor controls their own energy and takes responsibility."

On the other hand, film acting feels like a 'microscopic art,' where the camera lens captures even the slightest tremor in the eyes, the movement of the lips, and changes in the sound of breathing like a microscope. That is why film requires 'raw acting that strips away energy' rather than exaggeration. When filming *Bra Top*, I completely erased the formalized breathing I use on stage and brought out my childish side and natural way of speaking from my actual daily life, acting as if I were playing push and pull with the camera at every moment. It was a project where I was deeply captivated by the charm of expressing very delicate truths within the frame.

 

Q7. You have been consistently active in the independent film scene as well, taking on leading roles in films such as 'The Bread and Wine' and 'The Clementine'. When choosing roles on screen, are there any criteria you consider most important, or are there specific characteristics of characters that appeal to you?

A7. "I am much more drawn to characters who have some human flaws or contradictory inner selves, rather than those who are perfect and smooth. Characters who appear cold and confident on the outside but are weak on the inside, as if they would crumble at the slightest shock, or characters who seem carefree and cheerful but are hiding deep, inescapable wounds within."

When I read the scripts for such characters, my heart sinks first, and a strange sense of responsibility arises, thinking, "I am probably the only person in this world who can truly understand this character's pain." When I feel a resonance that "I must embody this person's soul and speak on their hidden, true stories to the world," I choose the project without hesitation. I want to create multi-dimensional characters that allow the audience to feel, "That character is just like me," when watching my performance.

 

 

 

 

[Part 3. A Planner's Perspective, AAPI]

Q8. You went beyond simply being an actor and co-planned the 'AAPI Playlist Volume 1' cabaret series with SyncStage Productions. What motivated you to decide to 'personally' create a stage that highlights Asian creators and artists?

A8. "While fiercely auditioning in the U.S., I faced a painful reality. The fact was that the roles offered to Asian actors on Broadway or in Hollywood were still confined to stereotypical images or were far too limited in quantity. Looking around, I saw Asian colleagues with tremendous talent and unique artistic visions letting their abilities go to waste simply because they lacked opportunities."

A thought suddenly crossed my mind. A healthy sense of rebellion arose within me: 'Why must we just passively wait for a major production to choose us or for a casting director to call us? Our stories are so colorful and rich!' Rather than sitting and waiting for a miracle to happen, I solidified my resolve to set the stage ourselves, grab the microphone, and let the world hear our voices. Together with like-minded colleagues, we began planning as if we were starting from scratch.

 

 

 

 

Q9. During the 'AAPI Playlist' performance, prominent Korean artists such as Shin Ju-won from the 'Squid Game' OST and Lee Hae-chan from the Broadway production of 'Hadestown' came together, achieving near-sold-out success. As a planner, I would like to know how you felt after the curtain fell, and what kind of story you would like to tell in Volume 2.

A9. "On the day of the performance, when I saw the audience filling the theater lobby and heard the cheers erupt as the lights went out, my heart swelled with emotion and I almost burst into tears. It was the moment we proudly proved to the world that our thirst and vision were not wrong. It is a miracle that we never could have achieved without our wonderful fellow artists who, despite their busy schedules, deeply resonated with our purpose and willingly graced the stage."

In the upcoming Volume 2, I want to go beyond simply declaring the identity that "we are Asians" and delve a step deeper. I wish to deliver greater comfort to the audience by weaving together the universal loneliness and frustration felt while living as a young artist and outsider in the vast jungle of the glamorous city of New York—and the brilliant "narrative of growth" of overcoming them—in a multi-dimensional way, like a musical, accompanied by original compositions.

 

 

 

 

Q10. Living as an 'Asian female artist' in the local U.S. art scene can come with limitations on opportunities. Chaeyeon, you demonstrate the qualities of a "proactive artist who creates her own opportunities" rather than waiting for a miracle. What do the Korean and Asian crews you stand in solidarity with locally mean to you?

A10. "To me, they are the 'Home' and the safest 'sanctuary' that allow me to breathe in the fierce and cold concrete jungle of New York. They are people who perfectly understand each other just by looking into each other's eyes, without the need to go out of my way to explain the unspeakable loneliness, sorrow, and wounds of rejection I feel while living as an Asian artist abroad.

However, our crew does not stop at merely pitying and comforting one another. Rather, when we gather, we pour out artistic ideas all night long, help each other with script readings, and propose new projects, becoming the most powerful allies and level-headed partners who awaken each other's inspiration. Thanks to this healthy solidarity, I gain the unwavering courage to keep moving forward without losing my center, even amidst waves of rejection.

 

[Part 4. Daily Life in New York and Future Vision]

Q11. You regularly serialize an essay titled 'Actress Kim Chae-yeon's New York Story' through the media. How does the city of New York, where glamour and tension coexist—from auditions on SoHo streets to attending New York Fashion Week (NYFW)—inspire your artistic world?

A11. "New York is a city that is like a massive convenience drama in itself, never letting you have a single dull moment. It is a place where extreme energies coexist so nonchalantly, from musicians playing jazz like possessed spirits in the corners of grimy subway stations to fashion shows at Fashion Week that reach the pinnacle of glamour."

Walking the streets of SoHo with a heavy script bag on my shoulder, every single gait, expression, and gaze of the countless people I encounter serves as a living acting textbook and a source of inspiration for me. Even when I am discouraged by cold rejections after countless auditions, seeing people on the street steadfastly pursuing their own unique art immediately reignites a burning spark within me. It is a city that acts like a grateful yet formidable mentor, constantly pushing me to the limit and keeping me awake every moment so I do not become complacent.

 

 

 

 

Q12. Recently, you have expanded your scope of activity to LA through commercial shoots and other ventures. Did you notice any refreshing differences between the artistic atmosphere centered around New York's theater district and the entertainment environment of LA?

A12. "It was very interesting to see how the atmosphere surrounding art was completely different, given that these two cities represent the East and West Coasts of the United States. If New York is the mecca of classical theater art, imbued with long history, tradition, the scent of hard work, and weighty texts, I got a strong impression that LA is a massive media city overflowing with endless possibilities, trendiness, and popular star power."

In New York, I focused on introspective work, holed up in a room to delve into the psychology of the characters in the script like a microscope; in LA, however, I learned an extroverted way of showing my quick wit and unhesitatingly revealing my unique charm and star power in front of the camera lens. Experiencing these two polar opposite environments broadened my spectrum of expression as an actor and allowed me to develop solid adaptability, enabling me to handle any situation flexibly.

 

 

 

 

Q13. I imagine there must be moments when you get exhausted or hit a slump while juggling auditions and planning work away from home. Please share any special routines you have for managing your mental health or relieving stress.

A13. "When my mind is overloaded with complicated thoughts or my self-esteem drops due to a series of rejections, I engage in very analog and physical activities to completely switch off my thoughts. I go to the gym and work out until I sweat profusely, or I enter a soundproof studio, grab drumsticks without thinking, and play the drums intensely. As I surrender my body to the instinctive rhythm and the sensation of the impact while screaming, the negative distracting thoughts that were tormenting my mind miraculously wash away."

And when my mind calms down a bit, I leave the bustling streets behind and sit at my quiet favorite café to drink a warm, fragrant cup of coffee. As I organize my thoughts on a blank page and write an essay, I rediscover the pure initial resolve that led me to start walking the path of an actor in this distant foreign land. Intense drumming and quiet writing—these two are my ultimate secret base that protects me.

 

Q14. Is there a dream stage (or role) that you would really like to challenge yourself with in the future? Please tell me if there is a role you covet in a Broadway musical or a Hollywood production.

A14. "My ultimate dream as an actor is to stand tall as a leading role on the Broadway stage, like in the musicals 'Hamilton' or 'Hadestown,' where I completely break down barriers of race and identity and dominate and lead the entire play solely through pure human energy and skill."

At the same time, I also want to serve as a solid bridge to widely promote the power of Korean storytelling—that is, K-content—which the whole world is currently paying attention to, to the global market. I want to take on roles with highly three-dimensional and multifaceted narratives in well-made productions on global OTT platforms like Netflix or Apple TV, breaking the stereotypes of Asian female characters, and deeply engrave the name "Actress Kim Chae-yeon" in the minds of audiences worldwide.

 

 

 

 

Q15. Please share a warm word of encouragement with the many young artists and juniors who are currently working hard, dreaming of a future where they will be active in the U.S., Korea, or on the global stage.

A15. "I hope you do not confine yourself within the frame of being a lonely 'stranger' or a 'weakling' in a foreign land. Our different cultural backgrounds, emotions, and linguistic textures are by no means weaknesses; rather, they are our most unique weapons and originality that no one else in the world can easily imitate."

If the door the world has made is closed, knock until it opens; and if it does not open no matter how hard you knock, instead of becoming discouraged, we can simply create a new door of our own. For opportunity belongs not to those who wait, but to those who create it. I am confident that if you tirelessly and silently hone your art, a great stage just for you will surely open. I, too, will run with all my might to prove myself without stopping in the fierce jungle of New York, serving as a good milestone and a reliable example for my juniors. Let us never get tired, become each other's allies, and meet on stage. I am rooting for you. Thank you!

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[Epilogue]

Throughout the interview, which lasted well over two hours, the words he mentioned most frequently were 'essence' and 'originality.' What kept him from being intimidated, whether among the fierce Broadway veterans of New York or on the film sets in LA where countless cameras were rolling, was ultimately his tenacity as an actor to truthfully convey his own story.

 

Kim Chae-yeon, who washes away distracting thoughts by entering a soundproof studio and playing the drums roughly whenever her mind becomes cluttered, and writes essays while sitting in a quiet cafe smelling the aroma of coffee. Just as vast as the spectrum between intense drum beats and serene writing, her inner self had already become a solid vessel capable of flexibly holding any role.

 

"I hope you don't get trapped in the frame of being an outsider. Our differences are not weaknesses, but originality." These final words spoken to her junior artists may actually have been a mantra she had been reciting to herself every morning while looking in the mirror in New York. The journey of this bold actress—who vowed to knock until the door opens if it is closed, and to create a new door of our own if it still does not—has only just begun. With excitement, we look forward to her brilliant second act in the not-too-distant future, where she will be smiling brightly and radiating the most unique energy right in the heart of Broadway and Hollywood. [Editor's Note]

 

[Reporter Choi Young-min, Korea Arts Newspaper]