Cult Korean Zombie Musical THE LAST MAN Set for UK Premiere in London

A gripping and unconventional musical built around the idea of survival in a post-apocalyptic world is coming to London this spring. THE LAST MAN, a cult Korean solo musical about one person trying to navigate a world ravaged by a mysterious virus, will receive its first English-language production in the United Kingdom when it plays at Southwark Playhouse Elephant from 8 May to 6 June 2026, with press night set for 13 May at 7pm.

This marks the work’s UK premiere, bringing to British audiences a thrilling blend of rock music, bleak humour and psychological drama that has already established the show as a standout in Asia. The production is directed by Seoul-based theatre-maker Daljung Kim, and features book and lyrics by Jishik Kim, music by Seungyeon Kwon and dramaturgy by Jethro Compton. Further casting and creative team announcements are still to come.
From Seoul to London: A Musical with a Cult Following

THE LAST MAN began life in Korea, originally developed as a web musical before transitioning to stage runs in Seoul and later in China. Its unique combination of rock-infused score, one-actor format and existential themes has helped the show build a devoted following online and in live productions. The London staging will be the show’s third major production and its first in the English language, offering a completely new experience to Western audiences.
Unlike traditional theatre, the musical often plays with form and atmosphere. At its core is one character, the titular “last man,” who survives a global catastrophe brought on by a mysterious virus that has seemingly wiped out humanity. In order to stay alive, he has sealed himself in Bunker B-103, a solitary pod of safety as the world outside descends into chaos and the undead roam free. As days turn into weeks, isolation takes hold and the boundary between survival and tragedy begins to blur.

The show functions both as gig theatre and as psychological exploration. It moves fluidly between live rock music, storytelling and introspective moments, placing the audience inside the protagonist’s bunker alongside him as he contends with the question that haunts him: is survival by itself enough, or should he open the bunker door and face whatever remains outside?

THE LAST MAN occupies a distinctive niche in contemporary musical theatre. It draws on the intense energy of rock concerts and channels that into a theatrical form, producing something that is as much experience as it is narrative. The original Korean productions helped turn the show into something of a cult hit, attracting praise from fans and critics for its innovative design and emotional resonance as well as its stark, provocative premise.

In Seoul and China the production has won multiple awards and found broad support among theatre-goers who were drawn to its intimate scale and existential undercurrent. For many, the strength of the show lies not just in its zombie premise but in how it uses that apocalyptic setting as a mirror for isolation, human resilience and the fragile need for connection — themes that feel deeply personal in any cultural context.

The choice to adapt THE LAST MAN for English-speaking audiences signals an increasing interest in cross-cultural theatre collaborations, where stories from outside the traditional Western canon find new life and relevance on stages far from their origin. In preparing the show for London, the creative team has preserved the spirit of the original while ensuring that the emotional and narrative beats resonate with a UK audience.

Director Daljung Kim is the driving force behind this UK interpretation. Based in Seoul, Kim has carved out a reputation for staging imaginative and compelling theatre, both original works and Korean interpretations of international pieces. His recent projects have included Korean productions of critically acclaimed pieces like AN ILIAD, HEDWIG AND THE ANGRY INCH and THE SPITFIRE GRILL, alongside other original musicals such as MAHOGANY and GLOOMY SUNDAY. This broad range of experience brings a nuanced perspective to THE LAST MAN, balancing theatrical grit with emotional depth.
Dramaturg Jethro Compton is a British-based director, writer and designer whose work has often focused on inventive storytelling and visually striking staging. His previous credits include THE BUNKER TRILOGY and THE CURIOS CASE OF BENJAMIN BUTTON, among others. Collaborating with Compton helps bridge the Korean origins of the piece with a sensibility that will speak to UK audiences.

The music by Seungyeon Kwon and lyrics by Jishik Kim form the backbone of the show’s emotional landscape. The score leans into rock influences, delivering intensity and immediacy that heighten the stakes and draw audiences into the protagonist’s solitary world. The result is a theatrical experience that feels visceral, urgent and intimately human, even as the narrative unfolds against a backdrop of global devastation.

At its heart THE LAST MAN is less about zombies than about what it means to remain human when the structures of society have crumbled. The familiar zombie trope becomes a canvas on which the show explores isolation, fear, hope, and the human instinct to connect even in the bleakest of circumstances. That makes it feel relevant in any era, not just in a world fascinated by apocalyptic narratives.

Audiences in London this May can expect an intimate theatrical experience that feels immediate and immersive. The bunker setting brings spectators close, making the psychological journey of the character feel personal and urgent. Tension builds not just from the threat outside, but from the emotional and mental strain of solitude and survival.

THE LAST MAN will run for just under a month, giving London theatre-goers a rare chance to see a groundbreaking piece of international musical theatre reimagined for the UK stage. With live rock music, sharp emotional shifts and a concept that challenges traditional musical structures, it promises to be one of the most talked-about premieres of the spring season.

For fans of bold storytelling and genre-blending theatre, THE LAST MAN is more than a musical about the end of the world. It’s a dramatic and musical exploration of resilience, identity and the deep questions that arise when the world as we know it disappears.