SEOUL, June 2 — Actor and ballet dancer Jeong Min‑chan has been removed from a Seoul musical after a social media post referencing a Starbucks drink triggered online criticism and a swift backlash from fans.
According to reporting from Korea Herald, Jeong posted a photo on Instagram on May 20 showing himself trying a new Starbucks menu item. The post appeared just as public anger was rising over Starbucks Korea’s “Tank Day” marketing image, which coincided with the anniversary of the 1980 Gwangju Democratisation Movement. Critics said the company’s campaign was insensitive to victims of the military crackdown.
Two days after Jeong’s upload, musical producer Showplay announced that he would exit Diaghilev, where he had been playing Vaslav Nijinsky in Seoul’s Daehangno theater district. Jeong later said he had not been aware of the controversy and apologised, calling his post a result of ignorance.
However, his first apology — written in a Chungcheong regional dialect he had not used publicly before — drew further criticism. Some fans associated the dialect with Ilbe, a far‑right online community, intensifying the backlash.
Four days after his removal from the musical, Shahar Ballet Theater’s artistic director Ji Woo‑young publicly defended Jeong, saying he had not intended to comment on the Starbucks controversy and that the drink simply tasted unexpectedly like makgeolli. She described the criticism as a “witch hunt” and said the ballet company would not drop him from any performances.
The contrasting responses underscore the different dynamics of Korea’s musical and ballet sectors. The Daehangno musical scene operates on a strong “star‑and‑fan” economy, where a small number of leading actors and highly dedicated repeat audiences can significantly influence productions. Producers often respond quickly when fan sentiment turns negative.
By contrast, ballet companies typically stage short runs with limited performances, leaving less room for fan‑driven pressure campaigns.
Industry observers quoted in the article said Jeong’s case reflects a broader trend in which performers face rapid and intense public judgment. Musical critic Choi Seung‑youn noted that fans often view their support as an extension of personal identity, making perceived ethical missteps feel personal.
Jeong was one of three actors rotating in the Nijinsky role, allowing the production to continue without disruption. For now, his prospects in Daehangno appear uncertain.
