Matchstick lights a theatrical fire at the GCTC

An edited version of this review was published by
Once upon a time a girl born in an undesirable country meets a boy from the land of freedom and opportunity and so begins the not-so-fairy-tale journey of Matchstick in Nathan Howe’s beautifully inventive musical-narrative that stitches enchanting storytelling to heart stopping reality.


Matchstick photo courtesy Electric Umbrella via the GCTC

Young Matchstick (Lauren Holfeuer) leaves behind a traumatic childhood moving to her Uncle’s home in an unnamed city where her difficult past gives way to a sparkling adolescence in a city replete with parties, comical suitors and ultimately the enigmatic foreigner Alik (Nathan Howe). Through self-contained episodes the story arc moves across the ocean from a colorful yet autocratic soviet land to an idealized then polarized US driving ever closer to a dark plot twist that no spoiler should reveal.

A simple set with little more than a cut-out cityscape backdrop, a screen and musical instruments dotted about transforms through the astounding and novel use of lighting. Projections, shadow-puppetry and ingenious if limited use of props elevate the accomplished narrative and bring characters and settings fully to life across borders and cultures.

From the opening story of Matchstick at the zoo through the animated picture-frame Aunt Valia, the befuddling bus ride, the poignant teaching gig and the acquired pram to the tremendous use of archived recordings each scene has remarkable visual impact. The result is stunning design from the creative team and a veritable feast for the eyes where even subtle costume changes evoke temperament and mood shifts while a rolled up blanket delivers a cradled infant.

Howe and Holfeuer bring consummate depth to the principle roles whilst also fairly cramming the stage with a cornucopia of well rounded and entertaining characters.  The physical delivery is graceful and accomplished with charming dance numbers including the notable ‘orphans’ while the music does away with the contrived awkwardness of so many musicals in favour of an independent contemporary delivery that is highly successful given the talents of these two artist with  Holfeuer’s poignant new year’s eve in the bath being a stand-out to watch for on the night.

Having identified the upcoming “reveal” rather early on in the production the twist has potential for greater impact if left to the penultimate scene which is so beautifully executed through sound, imagery and acetate overlays. However, this is but a small critique to bring to an exceptional work.

Nathan Howe and Kristen Holfeuer deliver impeccable performances under the masterful direction of Lauren Holfeuer.  This is must-see theatre with a concluding reprisal as piercing and visually satisfying as this triumphant production is throughout.

January 21st-31st 2016
At the Great Canadian Theatre Company


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