Im, Jintaek, one of the foremost practitioners of the madang-geuk―the Korean version of participatory political theater, staged Shakespeare’s Measure for Measure late in 2016, when the Candlelight Protest was expanding nation-wide. Most noticeable in Im’s adaptation was his decision to turn the original play into a genuine comedy. This unusual and defining feature of the adaptation was an eager intervention to the political moment. The comic ending anticipated and celebrated in advance the historic victory of the peaceful mass protest. This performance is truly a rare case of politically relevant Koreanized Shakespeare. This paper aims, above all, to analyze how the genuine comic ending is prepared by systematic adaptation and to illuminate its rich political messages so resonant in the context of the Candlelight Protest. Another focus of analysis will be on the seemingly conflicting aspect of the adaptation: the full actualization of the original play’s potential critical themes, explicitly guided by Brecht’s influential suggestion that the play’s so-called many problems including the dubious comic ending are embedded as clues for its intended political criticism. Lastly, the creative, modified use of madang-geuk theatrical styles will be examined, especially focusing on how it complements the adaptation to anticipate the comic ending.