Goodman's affable revival of 'The Matchmaker' doesn't quite satisfy

Adventures are worth pursuing. Love is worth taking a risk. Of the life lessons Thornton Wilder's “The Matchmaker” imparts, those are the most fundamental and heartfelt. But they are not the only lessons conveyed by Goodman Theatre's affable revival of this infrequently staged 1954 farce, which inspired the better-known “Hello, Dolly!”

That's because Goodman and director Henry Wishcamper go a step further. Incorporating actors of various races, physical abilities and gender identity, Wishcamper universalizes this tale celebrating — without sentimentalizing — our yearning for love and our desire for the occasional escapade to liberate us from our daily routine.

“The Matchmaker” is Wilder's re-imagined version of his 1938 play “The Merchant of Yonkers,” based on 19th-century British playwright John Oxenford's “A Day Well Spent.” “The Merchant of Yonkers” flopped on Broadway. “The Matchmaker” was a hit.

Animated by mistaken identities, misunderstandings and maneuverings, this love-affirming farce has warmth, wit and copious comic business.

Much of it comes from Postell Pringle and Behzad Dabu, who play a likable pair of store clerks who spend their day off clambering in and out of closets, cowering under tables and cavorting (briefly) while disguised as women.

Unfortunately, this sweet confection sours a bit thanks to an arguably unnecessary coda. This jolly tale could have concluded quite satisfactorily one scene earlier, even though that would deprive us of Marilyn Dodds Frank's engagingly eccentric Bohemian Flora Van Huysen, who arrives in the play's final moments to help nudge its couples in the direction of happily ever after.

The anticlimactic conclusion may be the playwright's fault, but it's not this show's only imperfection.

Wishcamper's revival — which cleverly references “Matchmaker's” successor with entre-act musical duets — is earnest and admirably cast. But it suffers from a lack of chemistry, missed opportunities and a set that fails to impress.

The action unfolds in and around New York City during the late 19th century. The agreeably blustering Allen Gilmore plays Horace Vandergelder, a wealthy widower of 60 who intends to remarry. Helping him find a suitable bride is Dolly Gallagher Levi (Broadway veteran Kristine Nielsen radiating bonhomie), a widow who excels at arranging other people's romances.

Horace embraces matrimony, but won't let his niece Ermengarde (Theo Allyn) marry her beloved Ambrose (Ronobir Lahiri), who Horace believes cannot support her. As for Dolly, she discourages Horace's courtship of Irene Molloy (a heartfelt, substantial Elizabeth Ledo), so she can marry him herself to better redistribute his wealth.

“Money is like manure,” Dolly insists, “it's not worth a thing unless it's spread around encouraging young things to grow.”

With Horace away wooing Irene, chief clerk Cornelius (the genial Pringle) and apprentice Barnaby (a very nimble Dabu) follow him to New York City to pursue their own romantic adventures. Arriving at Irene's hat shop about the same time as Horace, they're forced to hide, which makes for broad physical comedy.

With the exception of a steel contraption (which recalls Chicago's elevated tracks) looming inexplicably above the stage, Neil Patel's set pieces don't quite fill the space. And, while the stage directions call for cloth walls, open wings and painted curtains, the sparseness was a disappointment.

More concerning is the characters' lack of chemistry. While you'd expect reserve from middle-aged Horace and Dolly, their counterparts fail to express the giddy abandon that typically characterizes amorous young couples in romantic comedies.

The actors fare better individually. Ledo, whose wistfulness conveys the pain of loss, is terrific. So is Marc Grapey, who plays a reformed thief who gave up stealing to concentrate on drinking.

Enjoyable as Nielsen is, she tends to overplay facial expressions and mannerisms. And Lawrence DiStasi, a gifted physical actor, is woefully underused.

So just as Dolly and the others take a risk on love, Goodman takes a risk with “The Matchmaker.” Unfortunately, it doesn't entirely pay off.

“The Matchmaker”

★ ★ ½

<b>Location:</b> 170 N. Dearborn St., Chicago, (312) 443-3800 or <a href="http://goodmantheatre.org">goodmantheatre.org</a>

<b>Showtimes:</b> 7:30 p.m. Wednesday and Thursday, 8 p.m. Friday, 2 and 8 p.m. Saturday, 3 and 7:30 p.m. Sunday through April 10. Also 2 p.m. March 24 and 31 and 7:30 p.m. March 29. No 2 p.m. show March 19. No 7:30 p.m. show April 3 or 10

<b>Tickets:</b> $25-$82

<b>Running time:</b> Two hours, 40 minutes with intermission

<b>Parking:</b> $22 with Goodman validation at the Government Center Self Park at Clark and Lake streets

<b>Rating:</b> For most audiences