MSU’s ‘Inching Towards Yeolha’ is cohesive, compelling and thoughtful

“Inching Towards Yeolha,” written by Sam-Shik Pai and translated into English by Walter Byongsok Chon, is a sprawling Korean epic that takes on absurdist situations and existentialist themes of free will versus fate, the meaning and value of life and love, and evolving and changing roles within personal relationships. The play also frequently presents clashing ideological philosophies in lively and freewheeling debates, all situated in a land relentlessly swept by sandstorms where humanity seeks to survive, thrive and grow. 

The show is based on the diary of the 18th-century Korean philosopher Park Ji Won, also known by the pseudonym Yeon-Ahm, who sought to lead a societal change toward modernity and a more open attitude toward foreign cultures. The philosopher expressed that embracing change in both how we live and how we think is essential for a culture to progress. In the show, the villagers of Yeolha, led by a fictional Yeon-Ahm presented as a mythical beast, are disrupted by potentially malevolent outsiders and harsh weather. Through individual and group struggles, they find a path toward creating order and peace in their own intuitive and organic manner.

The Michigan State University Department of Theatre’s production, running at the Wharton Center’s Pasant Theatre through Saturday (April 19), is well served by its cast of 19 actors, led by the mellifluously voiced Shelby Parker as Yeon-Ahm and the practical and thoughtful Chamang Yang as Chang-Dae. This is a piece that allows the ensemble to shine, and all the actors handle the material and their moments very well. All portray complex and challenging interpersonal dynamics and philosophies in an excellent fashion, keeping the village lively, interesting and diverse all the way through the two-and-a-half-hour run time. 

The cast works as a well-oiled machine. All the company members are quite compelling, especially Matt Durland as the imperious Inspector, Savannah Perez as down-to-earth Gee-Yuh and Stephanie Kroschel, who gives a gritty and honest performance with maturity and assurance as Cho-Mae.

The technical elements are all presented at a highly professional level. The thrust stage is the main acting space, supplemented by the proscenium for scene changes, entrances and exits. Scenic designer Shea Snow’s set reminds me a little bit of something one would see in “Waiting for Godot” and is well-suited to exemplify the themes of the production. Snow and lighting designer Shannon Schweitzer’s elements combine seamlessly and flawlessly as the changing light plots help the set emerge and disappear.  Sound designer Brandon McDuff has made quite a splash in area theaters recently, and his work is strong here. Costume designer Cailee Bywater dresses the company well, blending a cohesive aesthetic with unique character touches. 

This is a large and demanding show with many elements, and it could have easily turned into a hot mess. However, kudos to MSU for getting as many students on stage as possible, giving each a meaty role to work with and maximizing the efforts of the student designers to create a cohesive, compelling and thoughtful production that’s well worth the run time.