JEST’s “The Matchmaker” – In The 60s, But Not So Rebellious

Although I’m not old enough to remember what the wild and crazy sixties were like, I’m sure some of my readers remember the psychedelic colors, the groovy music and the edgy vibe of rebellion that tugged like an emotional undercurrent against the waves of the stodgy, stuffy authority of its day.

Rather than its original setting in the 19^th century, JEST’s “The Matchmaker” is set smack in the middle of the 60s. this directorial choice has repercussions felt though the whole fabric of the production, differentiating it from the BIAS production of the same play only a scant few months before. The play opens with a scene most of us would remember from high school. A stiff, authoritarian figure tells a brash and cocky younger man that following his heart is foolish and will not be accepted. The cocky, uncaring artist Ambrose, (Played by Mory Buckman) is bedecked in a beret cast carelessly atop his wild mass of dark curly hair and he shows his casual disregard for all the things society values at that time (money, status, legitimacy, not putting your feet up on the table while convincing your girl’s guardian to allow her marriage to you). “The Man” that Ambrose is snubbing is the stodgy Horace Vandergelder (played by Arthur Fischer), who earned his money the hard, “unfoolish” and traditional way and thus is naturally disgusted by Ambrose’s lack of respect for the traditions and decorum of respectable society.

One thing that bothered me during the performance was how unassertive the younger characters were. I am used to the kids of Israel today who would push you out of line just to shave off a few seconds wait time for the bus. Other than Ambrose who has a backbone, even Irene Malloy (played by Maytal Turner) who owns her own hat shop seems cowed by the norms of society and the natural assertiveness of Horace Vandergelder. It was only once I put it in the context of the period that it began to make sense. Since the play is set at the beginning of the youthful rebellion of the 1960s, even though the younger generation is taking firm steps away from the traditions of their parents, they still haven’t discovered the assertiveness that defined a whole generation of flower-children and imprinted the images of revolution and freedom that has lasted until today..

Actor Doron Antebi who played the role of Cornelius Hackl, the meek but adventure-seeking clerk, was inspired by his own army experience. Having just left his 3 years mandatory service, Doron is well-used to being ordered around at an embarrassing low wage with no possibility of any real career advancement; now that he is finally released, Doron put his experience into the play and confessed that the desire to escape and have adventure was equally exciting and distant during his army service.

Dolly (played by Eliana Aaron) had me captivated from the moment she came onstage. Although she is one of the “adults” of the play, and thus a metaphor for everything that is wrong with the previous generation, her acting was superlative. Dolly has the walk, dress and style of a woman who uses her sex appeal and feminine wiles to their maximum advantage and knows it. Although completely broke, Dolly dreams of being able to facilitate the “flowing like a river” of Horace Vandergelder’s hard earned money and it was a pleasure to watch her manipulate Vandergelder into thinking proposing to her was his own idea.

One nice touch that I personally didn’t appreciate was having Malachi Stack (played by Marvin Meital) walk into the audience during his monologue. It did wonders to spice up the rather boring and long-winded speech, which was very much appreciated. My lack of appreciation stemmed from my inability to refocus on the stage and forget I was in a theater for a few whole minutes after his walkabout. My peripheral vision was filled with the audience members, a sad fact  which I felt it detracted somewhat from my appreciation of an otherwise wonderful play.

I can’t write an article about JEST’s “The Matchmaker” without saying a few warm wards about Director Erika Hughes who not only whipped the production into shape, but dealt admirably with last-minute casting issues with such finesse that I never would have guessed had I not known beforehand. Her vision and effort truly made the play a much more enjoyable experience.

If you hurry, you might get to see one of the last two performances –  To get a ticket or find out more, check out: http://jest-theatre.org/jestcurrentshow

Harel Feldman