Hit series "Jeongnyeon: The Star is Born," which has achieved a peak viewership rating of a whopping 16.5 percent during its run, has left a remarkable impact on the K-drama landscape.

By reviving a forgotten historical theme for modern audiences, it not only reintroduced a piece of cultural history but also managed to draw viewers of all ages and genders to the small screen -- breaking away from the typical viewership of Korean dramas, which primarily consist of women aged 20 to 49.

The 12-episode drama set in the 1950s chronicles the journey of its titular character as she strives for fame as a "gukgeuk" artist -- a female performer skilled in pansori, the traditional Korean art form blending narrative singing and dance. During its heyday, gukgeuk performers were as revered as idols of the day.

The series is adapted from hit webtoon "Jeong-nyeon," which debuted in 2019 and quickly gained acclaim for its compelling storytelling, earning recognition from South Korea’s Ministry of Culture in 2020. The webtoon’s widespread popularity also led to its adaptation into a "changgeuk" (Korean traditional opera) in 2023 before making its television debut on tvN in October, with acclaimed actor Kim Tae-ri in the titular role.

With the series having aired its last episode on Nov. 17, director Jung Ji-in shared in a written interview that her primary focus while directing the series was on bridging the gap between the unfamiliar subject of gukgeuk and a contemporary audience.

“We kept in mind that gukgeuk was one of the most beloved forms of entertainment of its time, allowing people to escape the hardships of reality. We wanted to offer viewers a similar sense of wonder. From the moment the stage curtains open, we aimed to evoke the excitement and anticipation akin to stepping into an amusement park,” Jung explained.

“Even before filming began, we collaborated with the cast and crew to ensure that both the drama’s fictional audience and our viewers at home could experience these emotions equally,” she added.

To accurately depict the elaborate gukgeuk performances, each sequence required meticulous preparation, she said.

“For gukgeuk filming, we held camera and dress rehearsals a day prior to the shoot. These rehearsals helped us finalize stage movements, camera and equipment placements, lighting, costumes, makeup and hair arrangements, allowing us to address any issues in advance,” Jung noted.

“The filming itself was divided into three parts: stage-focused scenes, scenes featuring the audience and computer-generated imagery audience shots. Each (performance) typically took seven to ten days to complete,” she added.

One of the show’s most remarkable achievements was its appeal across diverse demographics, breaking away from the typical 20-49 female viewership that most K-dramas cater to. Jung expressed surprise at this outcome.

“We anticipated viewership from women in their 20s to 40s due to the captivating female characters and their relationships. However, the drama’s reach across all age groups and genders was unexpected,” she said.

“I believe this success lies in the universal themes and relatable emotions woven into the story, which resonated with audiences from all walks of life,” she stated.