By Keolanani Kinghorn
A heart-warming new musical adaptation of Hans Christian Andersen’s The Matchstick Girl premiered at Weber State University and I could easily see as a holiday staple with enough merit to join A Christmas Carol. Andrew Barrat Lewis Weber State University’s Matchstick Girl, with book and lyrics written by Jennifer A. Kokai and additional lyrics by Kenneth Plain, is an adaptation of a classic tale written in 1845, with many of the same details—not very hard to do since it is a short two-page story However, to turn this into a full 80-minute production (without intermission) the original story had to be expanded and embellished.
In the program, Kokai said, “I wanted to provide context for the world our Matchstick Girl lives in, and to introduce someone who, like us, has a good heart but is frozen at the complexity of problems and hears conflicting advice on what to do.” Part of the process of extending this story included working with Weber State students and alumni and public reading to seek audience feedback on the script. In an interview with Kayla Griffin, marketing manager at the College of Arts and Humanities, Kokai said, “I was expecting around eight people to come…but it was more like 100 people.” Kokai admits that “This is a new piece, so it will continue to grow and change, but its heart will always live in the Browning Center and the Theatre Galaxy that resides there.”
In this adaptation the titular character, Sofia, (Jaden Chandie Nandkeshwar) struggles to sell matches on the cold and snowy streets of Copenhagen during the holidays. Through her vivid imagination, and with the help of Alicia Trump’s choreography, and of course Plain’s stunning orchestration, she finds comfort and escapes from her difficult reality. This musical explores themes of poverty, family abuse, manhood, societal obligations of kindness, and the power of connection. According to Lewis’s program notes,“The musical asks the important and poignant questions, ‘what does it mean to grow up?’ and ‘how do the small and seemingly insignificant choices we make each day change the path we take and the lives of those with whom we interact?’”
The play opens with “New Year’s Eve in the City,” a bright big ensemble number accompanied by a nine-piece pit orchestra, reminiscent of the holiday favorite, “On Christmas Day in the Morning.” This song introduces us to the main characters, Sofia, a poor and neglected girl, who just wants to sell her matches, and Johan Hansen (Taylor Garlick), a boy who used to play with Sofia, and whose parents—Sylvia (Chloe Ryan Painter) and Magnus Hansen (Spencer Sanders)—used to employ Sofia’s father for work until he was fired for negligence. Sofia’s father, Karl (Jacob Coates), is a complicated man who has lost his wife, but ultimately made poor decisions motivated by his addiction to alcohol.
The entire cast of young actors shined in this production, their vocals were strong for their size and their acting was authentic. The show leaves the audience with a lot to ponder, and there is no doubt that these topics are serious, relevantcurrent topics, despite the age of the play. However, the play also provides much-needed comic relief, especially by Kirsten (Chelsea Christensen), an unusual love interest for Johan, the girl with stray cats. Her song “A Small Simple Favor” had me giggling and nodding in agreement when she sang about how some people are “hard and confusing,” but cats are always easy to understand.
Garlick approached a tricky character with genuine concern for his friend and others but gave the character more nuance than just a teenager who is trapped by his parents’ ideals. There were moments of brilliance in both Garlick and Nandkeshwar’s solos and duets that made them my favorite part of the show. In “A Magic Match,” a duet between the two, Sofia lights her first match and imagines the match heats the base of a lamp post, as hot as a stove. Then, a field of flowers appears where she dances until the match goes out and the magic disappears. I loved how each match glowed a different color as Sofia struck it against the ground. Nandkeshwar has a gorgeous alto voice that filled the large theater during several of her songs and caused me to stop taking notes at moments to just appreciate a great performance.
Later in the play, we are introduced to Sofia’s grandmother Clara (Demi Lamb) in “Lullaby (Stars May Fall)”, one of the most touching songs of the evening. At first, the song starts with happy early memories of the two—sewing and knitting—but Sofia turns bitter later in the song, singing, “Love is fleeting/Love is useless,” and “the threads all cut/the knots undone.” Clara responds, “I never let you go/It’s true I had to leave you for a moment far too long/It’s true the world/Has made no space for you/My child you’ve done your best a lonely boat on the roiling sea/I’ve always been here with you helping to steer you more alee.” I heard several sniffles around me during this scene.
The scenic design by Cully Long was open, with no big scene changes, making a brisk 80-minute showtime possible as every element ran smoothly. The stage was filled with snow-capped fir trees, two twenty-foot-tall lamp posts, flickering chandelier lights, and a large projected clock that changed times throughout the show as New Year’s Day approached. Lighting design by Jessica Greenburg was also expertly done and showcased a row of Victorian-looking cut-out homes along the back of the theater. Sound designer, Spenser Johnson made the large space sound beautiful and balanced the vocals perfectly with the orchestra—not always an easy thing to do.
When I saw Catherine Zublin‘s transformative white gown design for Sofia that came on and off in a matter of seconds—during one of Sofia’s matchstick wishes on stage—I was truly impressed. It was a unique design that I had not seen before, but more importantly, it was a gorgeous dress that showed no signs of having an outfit underneath. In it, Sofia looked like an angel atop the Christmas tree, complete with lights in her hair, by Hair and Makeup designer Citali Urqouiza. The dress reminded me of the fairy tale Cinderella and her transformation. It occurred to me that there are many parallels between Matchstick Girl and Cinderella, the difference is the outcome of these two girls and how society treats them. Even though we all want a fairy tale ending, Matchstick Girl is a far more accurate depiction of how we treat people with no money, home, or education. As Director Andrew Barrat Lewis says in the program Matchstick Girl is “a fairy tale born of everyday life.”
Overall, Weber State University’s Matchstick Girl is a heartwarming and thought-provoking musical that is sure to leave a lasting impact on those who see it. The beautiful music, strong performances, and touching story is one that I can see audiences of all ages returning to again year after year during the holidays as they consider the importance of empathy and kindness, and most important—new beginnings that reconcile our past.
Photo credit: David Daniels
Full Program
Preview
Matchstick Girl: A New Musical played at the Allred Theater of the Val A. Browning Center for the Performing Arts at Weber State University on February 24-25, March 1-4, 2023.
Interview with Cooper Hatsis
The Little Match Girl by Hans Christian Andersen.
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