Review: THE MATCHMAKER at Hudson Valley Shakespeare

Adapted in 1954 by Thornton Wilder from his earlier play The Merchant of Yonkers, The Matchmaker gained even greater fame when it was transformed into the beloved 1964 Broadway musical Hello, Dolly!. 

“Ninety-nine per cent of the people in the world are fools, and the rest of us are in great danger of contagion,” proclaims Horace Vandergelder, the cantankerous half-millionaire at the center of the play. Set in 1880s America—long before the advent of online dating—Horace enlists the help of a clever matchmaker named Dolly Levi to find himself a second wife. What he doesn’t realize is that Dolly has already selected the perfect bride for him: herself. 

At the start of the play, Horace’s entire household is headed to New York City for the day—some to court, others to escape being courted. He sends off his pouty young niece Ermengarde (Anvita Gattani) to Manhattan under the watch of a tipsy guardian Malachi (Sean McNall), hoping to keep her away from her suitor, the artist Ambrose (Blaize Adler-Ivanbrook), who is hot on their trail. 

Meanwhile, Horace’s chief clerk Cornelius (Carl Howell) and apprentice Barnaby (Tyler Bey) are meant to stay behind and mind the store—but they seize the opportunity for a rare adventure and hop on a train to the city. Naturally, all paths collide in New York: first at the hat shop of widowed milliner Irene Molloy (Helen Cespedes), then at a fancy restaurant, and finally at the eccentric home of wealthy spinster Flora Van Huysen (Katie Hartke). 

Wilder peppers each act with moments in which characters step out of the action to deliver reflections on risk, vice, adventure, or life itself. Nance Williamson, with wet-eyed wisdom and dry wit, delivers one such monologue as Dolly, musing, “Money is like manure; it’s not worth a thing unless it’s spread around encouraging young things to grow.” That line, echoing themes of generational tension and class, resonated with striking relevance. 

Wilder’s plays, while warm-hearted, never indulge in false sentimentality. The real world always lingers at the edge of the stage. In The Matchmaker, he transforms a seemingly simple farce into a moving meditation on second chances and the messy, miraculous beauty of being alive. 

The Hudson Valley Shakespeare production was a joy from start to finish, thanks to its dynamic direction by Davis McCallum and a cast with impeccable comic timing and emotional nuance. The pace was brisk, the language sparkled, the humor landed, and the heart of the play—its humanity—shone through. 

Carl Howell brought irresistible charm and boyish enthusiasm to Cornelius Hackl. From his romantic yearning to his slapstick pratfalls, Howell handled it all with great range and comedic precision. As Barnaby Tucker, Tyler Bey was absolutely endearing—so much so, you’ll want to tuck him in your pocket and take him home. His wide-eyed innocence and springy physicality matched Howell’s energy perfectly. Together, they created some of the production’s most delightful moments, full of joy, sincerity, and chaos. 

Helen Cespedes gave an amusing, lovely, nuanced performance as Irene Molloy. Beginning the play bound by social expectations, she gently blossomed into a woman choosing love for love’s sake. Her counterpart, Minnie Fay, played by Melissa Mahoney, added an extra layer of charm—her bashfulness and effervescence were a pleasure to watch. 

As Ermengarde’s eccentric aunt, Mrs. Flora Van Huysen, Katie Hartke exists in a world entirely her own—operatic, melodramatic, and utterly hilarious. Her Flora bursts with wild gestures, literal Arias, and comedic fireworks. 

Of course, Nance Williamson’s Dolly Levi was the heart and soul of the show. With her commanding presence, sly intelligence, and quiet vulnerability, she balanced comedy and compassion with expert finesse. Her smallest gestures—a glance, a raised eyebrow—spoke volumes. 

Kurt Rhoads, as Horace Vandergelder, was a curmudgeon of the highest order, channeling the character’s bluster and stinginess with practiced flair. A longtime performer with impressive range, Rhoads is clearly at home in any role he tackles. 

The supporting ensemble added rich texture to the world of the play, including Aamar-Malik Culbreth (August), Zack Fine (in two hilarious roles as Scanlon and the Cabman), Dylan Scarlett Foster (a graceful singing waiter), India Shea (Rudolph), and Victor Yang (Cook). Their presence added warmth, wit, and whimsy throughout. 

Musical interludes composed by Alex Bechtel and performed by the band—Riley Burke (fiddle), Zachary Hobbs (banjo), and Jim Keys (accordion)—framed the show beautifully, providing continuity and a nostalgic ambiance. These moments were enhanced by Dylan Scarlett Foster’s vocals and Susannah Millonzi’s delightful choreography. 

The set made excellent use of the stage with strategically placed doors, windows, and screens that allowed for seamless scene transitions and visual surprises. Lighting by Lily Fossner, luscious  costumes by Charlotte Palmer-Lane, sound design by Liam Bellman-Sharpe, and perfectly curated props by Buffy Cardoza all contributed to the immersive and whimsical world. 

This effervescent farce may be rooted in a bygone era, but its connection to the present is built on timeless foundations: human longing, compassion, wit and laughter.  

The Matchmaker, Running time: 2 hours and 30 minutes.Through Aug. 3.  

Go See it and the other offerings This season; 
The Comedy of Errors” (June 6-August 2) “Julius Caesar” (September 9-10), and “Octet” by Dave Malloy (August 11-September 7) 

This will be Hudson Valley Shakespeare's final season using its pre-existing seasonal theater tent on the grounds of its new home at 2015 Route 9 in Garrison, NY.  The Samuel H. Scripps Theater Center is slated to open in 2026.  HVS audiences will continue to experience the company's signature open-air productions and pre-show picnicking on the grounds.