Choi 2014 on drumming, Maliangkay 2017 on folksong), and in traditionesque musical theatre changgeuk’s development history (Killick 2010), is nothing new. What is notable in changgeuk’s recent history, however, is how several recent productions made gender dynamics an explicit part of their promotion strategy, to great acclaim from Korean audiences. This chapter will focus on two case studies. The first, performed by the National Changgeuk Company of Korea (NCCK) in March 2023, is an adaptation of the popular webtoon “Jeongnyeoni” (Seo Irae and Namon, 2019–2022), which is loosely based on the changgeukadjacent all-female yeoseong gukgeuk performance troupes of the 1950s. Driven by the popularity of the source material, this was a hugely successful production for the NCCK, with the first round of tickets selling out two months before the performance, and additional tickets also selling out instantly. Most striking was the fact that 68.1% of the audience was made up of women in their 20s and 30s (Seoul Economic News). Secondly, a “Korean classical opera of men” based on Oscar Wilde’s “Salome” (1891) will be performed in February 2024 at the Daehak-ro Arts Theatre, featuring an all-male cast including many of the young male stars of the NCCK. Ticket sales went live on 20 December 2023, and are already almost completely sold out. Both of these productions explicitly focus on gender aspects in their promotional activities, and seem to receive very positive feedback from Korean audiences for doing so. Exploring the people involved, promotion strategies, and performance content etc., this paper aims to explore whether these performances can be understood within a wider shift in gender perceptions in contemporary Korea as a whole.