The story of Matchstick starts as a familiar cold war-era propaganda machine in action: An orphan girl lives in a cold, restricted – undesirable – land and dreams about America, a free land of opportunities. She meets a prince charming – Alik – who takes her heart by storm and sends her hopes soaring!  But, life is rarely what we hope for. The story leaves the realm of the cliché and enters different, darker waters after they marry and come to the promised land. Little by little, Matchstick realizes that Alik is a paranoid liar, and her life is as far from the freedom and big opportunities she dreamed of as can be. Through her life of misadventures, Matchstick comes to the realization that fairy tales do not happen in a real life. Even more than that, she understands – only too late – that real freedom and opportunities exist where you are loved and where your family and friends are.
The topic of the play is very interesting and worth serious exploration. Digging deeper, going beyond the facts and basic emotions, would make it great theatre. For now, the narrative in Matchstick has some very touching moments and some cleverly constructed dialogues, but the story stays on surface.
Its execution is reminiscent of Bertolt Brecht’s “Mother Courage and her Children,” as it uses the elements of storytelling, a simple but effective set with the projection of city in the center, actors who change characters, and a few songs sprinkled throughout the play to accentuate the theme. Only in Matchstick, due to lack of depth, the writer misses an opportunity to boggle our minds. …

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