K-pop idol-turned-musical actor Ock Joo-hyun has experienced events that made her wonder, "Can something like this really happen?" "That was the case with MERS, and later with COVID-19," she noted. "When the entire nation is shaken, the arts are always hit the hardest. In a way, it’s only natural because we can’t afford that kind of ease."

The actor shared these thoughts during an interview with reporters on Friday, immediately after the opening performance of the “Mata Hari” musical, currently in its fourth run at LG Arts Center. The performance took place just three days after President Yoon Suk Yeol's declaration of martial law threw the nation into turmoil.

Reflecting on the current situation, she added, "When martial law was declared, I thought, 'This is just like COVID-19 -- another unpredictable situation.' I don’t know how things will unfold now or in the future, but one thing is certain: Life is always unpredictable. That’s why I’ve decided to live each moment diligently, making the most of the time given to me."

Ock revealed that her driving force has always been the desire to overcome feelings of inadequacy and embarrassment on stage. She has devoted herself to improving and maintaining her vocal abilities to ensure a seamless connection between her acting and singing as a stage performer.

“When I reflect on those efforts, I feel it’s one aspect of my journey worth acknowledging,” the 44-year-old said, reflecting on almost 20 years in the musical industry.

Ock, who debuted as a lead vocal of girl group Fin.K.L in 1998, began her stage career with “Aida” in 2005. Since then, she has been part of many hit musical productions including “Rebecca,” “Wicked,” “Marie Antoinette” and “Redbook.”

“Mata Hari” holds a special place in Ock's heart, as composer Frank Wildhorn drew inspiration from her to create its music.

“Whitney Houston, Natalie Cole, Julie Andrews and Linda Eder have all been sources of inspiration. Just like them, listening to Julia (Ock)’s voice inspired me as well,” said Wildhorn, who was also at the press conference.

The American composer first heard Ock’s voice about a decade ago. Around the same time, he and an executive from EMK Musical Company — the Korean production company that would later bring “Mata Hari” to life — were discussing the concept of a musical built around a strong female lead. These two moments, which Wildhorn describes as "just like fate," ultimately paved the way for the creation of “Mata Hari," powered by Wildhorn, playwright Ivan Menchell and lyricist Jack Murphy.

“One of the rules that I try to follow in my own shows is characters that are bigger than life in situations where the stakes are so high. Certainly, Mata Hari is a character bigger than life. Certainly, the stakes are so high,” he remarked, adding that “(Ock) is a very soulful, wonderful musician and she's like writing for a whole orchestra and a song's best friend and that's the most you could say about a singer.”

Wildhorn has some 40 productions in many different languages onstage around the world. In Seoul this winter, four of his works -- “Syrano,” “The Man Who Laughs,” “Jekyll & Hyde” and "Mata Hari" -- will be running simultaneously.

When asked about how the emotions and musical rhythm of the Korean language align with his music, he emphasized that love and music know no boundaries.

“The truth is that if it is performed with the same passion that I write with, good things happen. Every culture is different. Every language is so different and so we have to be trusting of the interpreters and the translators that we work with around the world, but it still comes back to honest performances and passionate performances of my music."

Ock further noted the power of Wildhorn’s music to transcend language and culture.

“As I encounter Wildhorn's music, I always strive to feel his soul, focusing on the recurring themes of ‘heart’ and ‘love,’ even without the lyrics. To do this, I avoid listening to the lyrics as written and instead hum along to the melody first. By following the melody, I begin to sense what he wanted to express in each scene and understand why he composed the melody with such a particular flow and structure,” Ock said.

“If one fully understands his melodies, they seem to serve as an excellent guide capable of conveying emotions in any language. The very act of being able to draw those feelings from my heart fills me with immense happiness and a sense of honor,” she added.

Perhaps as a testament to this quality in his melodies, the self-taught composer recently ventured into classical music, composing "Danube Symphony," which premiered with the Vienna Symphony in November 2022, and "Odessa Symphony," set to debut in July 2025.

“Mata Hari” premiered in 2016, just a year shy of the 100th anniversary of Mata Hari’s death. The musical centers on the story of Margaretha Zelle, known as Mata Hari, who overcame the trauma of an abusive, unfaithful husband and transformed herself into a celebrated dancer. Her tale ultimately takes a tragic turn, as she becomes a scapegoat for the French government, executed under false accusations to boost national morale.

Ock expressed confidence in the latest production while acknowledging that the first two editions lacked a certain element. "The seamless flow that resonates with Korean audiences in this latest production was likely achieved thanks to director Kwon Eun-ah, who, with her extensive experience living in English-speaking countries, effectively bridges both the English and Korean languages," she said.

The fourth edition of “Mata Hari” runs until March 2 at LG Art Center.