{"id":1367,"date":"2018-05-24T09:52:00","date_gmt":"2018-05-24T14:52:00","guid":{"rendered":"https:\/\/uwm.edu\/yiddish-stage\/?p=1367"},"modified":"2023-05-15T10:02:43","modified_gmt":"2023-05-15T15:02:43","slug":"matchmaker-matchmaker-act-on-the-stage","status":"publish","type":"post","link":"https:\/\/uwm.edu\/yiddish-stage\/matchmaker-matchmaker-act-on-the-stage\/","title":{"rendered":"Matchmaker, Matchmaker, Act on the Stage"},"content":{"rendered":"\n

Aa far as\u00a0matchmakers are concerned, love is like poison. Or so claims Khaykelson, a character in a one act play by\u00a0Avrom Reisen<\/a>. And Khaykelson might know. Not simply because he is a poet\u2013\u2013he is also courting a matchmaker\u2019s daughter. And so, in\u00a0Dem shadkhns tokhter\u00a0<\/em>(The Matchmaker\u2019s Daughter), Reisen poses a question that appears throughout Yiddish drama: What do matchmakers want and how much trouble does it cause young lovers?<\/p>\n\n\n

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A program for a 1924 production of Goldfaden\u2019s\u00a0Di tsvey Kuni-Leml<\/em>, New York Public Library Digital Collections, Dorot Jewish Division, The New York Public Library.<\/figcaption><\/figure>\n<\/div>\n\n\n

Matchmakers played an important role in Yiddish culture. Just ask Molly Picon<\/a>, the renowned actress who is probably most famous for one of the last roles she performed: Yente the Matchmaker in the musical Fiddler on the Roof<\/em>, which was based on Sholem Aleichem<\/a>\u2019s short stories<\/a>. Matchmakers appear in Yiddish literature, folksongs, and film. In fact, Edgar G. Ulmer<\/a>\u2019s 1940 film Amerikaner Shadkhn<\/em><\/a> (American Matchmaker) even includes a scene where matchmakers go on strike to protest a wealthy bachelor who decides to arrange matches pro bono. Not surprisingly, matchmakers were a popular character type in the Yiddish theatre. While Naomi Seidman has recently traced<\/a> the shifting literary portrayal of marriage brokers from nineteenth century memoirs to the twentieth century fiction of Bernard Malamud<\/a>, there hasn\u2019t been a comparable study of matchmakers in the Yiddish dramatic repertoire. Fortunately, Plotting Yiddish Drama<\/a> is bringing you the tools to help make that happen.<\/p>\n\n\n\n

In a social milieu where arranged marriages were expected and parents sought out connections for their children with similarly-minded families living both close by and far away, someone needed to oversee introductions and negotiations over dowries and provisions for the young couple. While families sometimes proposed matches, such as in\u00a0Jacob Gordin<\/a>\u2019s\u00a0Di shkhite<\/a>\u00a0<\/em>(The Slaughter), these sort of plans could have terrible unforeseen consequences, as can be seen in\u00a0S. An-sky<\/a>\u2019s\u00a0Der dibuk<\/a>\u00a0<\/em>(The Dybbuk). It could be helpful for someone like Mrs. Grossberg, in\u00a0Sholem Asch<\/a>\u2019s\u00a0Um winter<\/a>\u00a0<\/em>(In Winter), to remind people how to behave so that they would be able to get a new couple to the\u00a0khupe\u00a0<\/em>(marriage canopy) successfully. Matchmakers thus performed a crucial job in traditional Jewish communities. Not that this position got them much respect, at least not in popular culture. As one\u00a0Yiddish folksong<\/a>\u00a0says: \u201cYou can laugh at the matchmaker \/ who brings together a wall with a wall.\u201d Matchmakers are frequently represented as buffoonish, comic characters who stutter, mislead, and suffer all kinds of indignities in order to get their\u00a0shadkhones gelt<\/em>\u00a0(payment for making a match). The protagonist of\u00a0Dovid Pinski<\/a>\u2019s\u00a0Yankl der shmid<\/a>\u00a0<\/em>(Yankl the Blacksmith) thinks nothing of physically shoving around Khaye Peshe, the matchmaker he commissioned to broker his engagement. At best, fictional matchmakers are often comic relief. At worst, they remind audiences of the most degenerate \u201cvalues\u201d parents prioritize over their children\u2019s happiness, since many Yiddish plays show the triumph of love matches over arranged marriages.<\/p>\n\n\n

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Enter Shloima the Matchmaker. Act I, Scene 1 of Belle Markowitz\u2019s\u00a0Shloima der shadkhn<\/em>. Photo: Jonah Estess.<\/figcaption><\/figure>\n<\/div>\n\n\n

It is telling that even though matchmakers feature in so many Yiddish dramas, they are rarely the protagonists. When I searched through the Lawrence Marwick Collection of Copyrighted Yiddish Plays at the Library of Congress<\/a>, there were only a few scattered examples of dramas with shadkhn<\/em> (matchmaker) in the title, such as Belle Markowitz\u2019s 1936 musical comedy Shloima der shadkhn<\/em> (Shloima the Matchmaker). Markowitz\u2019s play is an entertaining period piece set against the backdrop of the Great Depression. While young people dream of love and careers in show business, Shloima and his wife Rifka go into matchmaking to try to earn a living. Yet instead of banding together, the two frequently work at cross purposes: Shloima considers his profession to be an art and tries to understand the needs of his clients, while Rifka doggedly tries to make as many matches as possible, even if it means proposing candidates for marriage without properly vetting them. Shloima der shadkhn<\/em> stands out as a play about matchmakers that was set in New York, rather than Eastern Europe. It is also one of the relatively few plays in the Marwick Collection that was written by a woman. Nonetheless, Markowitz does not challenge the negative yidene<\/a> <\/em>stereotype of the nagging Jewish matron. Markowitz\u2019s portrayals of both Shloima and Rifka underscore the cultural resonance of male and female matchmaker types. Shloima der shadkhen<\/em> is also representative insofar as we know very little about the playwright\u2019s life, her play\u2019s development, or any performance history, which is fairly typical for plays that did not have high literary ambitions.<\/p>\n\n\n\n

While Markovitz\u2019s life remains (at least for now) a mystery, our current group of plays about matchmakers includes works by some of the best-known Yiddish dramatists. Predictably, this batch includes a selection of Avrom Goldfaden<\/a> plays. From Kalmen Matchmaker in Di tsvey Kuni-Leml<\/a> <\/em>(The Two Kuni-Lemls) to Yudke Fayfer in Di mume Sosye<\/a> <\/em>(Aunt Sosye) to Shakhne in Shmendrik<\/a><\/em>, Goldfaden\u2019s matchmakers exemplify the character type that Yiddish playwrights pushed back against as they dramatized the trials and successes of romantic love. And\u2014thinking back to Yente\u2014it would be almost unthinkable to talk about Yiddish matchmakers without including a work by Sholem Aleichem. He is, of course, the writer who dreamed up the matchmaker Menachem Mendl<\/a>, a man whose head is stuck so far up in the clouds that he accidentally arranges a match for two brides. Sholem Aleichem\u2019s play Der get<\/a> <\/em>(The Divorce) is a one act comedy, where Sholem Matchmaker shows up to suggest new matches before the divorce has even been arranged. Matchmakers were comic gold, as far as Sholem Aleichem was concerned.<\/p>\n\n\n\n

Yet even a traditionally-minded matchmaker who was dependent on shadkhones gelt <\/em>for survival might not always be portrayed as bumbling, comical, or mercenary (and not always all of these qualities at the same time). Matchmakers could be convinced of the value of romantic love, especially if a daughter\u2019s happiness was at stake. Note the Matchmaker in Dem shadkhens tokhter<\/em> learns to appreciate his daughter\u2019s love match. And in an ironic twist, he convinces Khaykelson the poet to consider an arranged marriage. We hope you\u2019ll also come to appreciate the importance of matchmakers\u2013\u2013at least as they appear on the Yiddish stage!<\/p>\n","protected":false},"excerpt":{"rendered":"

Matchmakers and the Yiddish dramatic repertoire\u2013\u2013the latest Plotting Yiddish Drama batch shows why this combination is a perfect match.<\/p>\n","protected":false},"author":32,"featured_media":1368,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[48,37,17],"tags":[],"class_list":["post-1367","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-1945-1999","category-religion","category-writers"],"yoast_head":"\nMatchmaker, Matchmaker, Act on the Stage - Digital Yiddish Theatre Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uwm.edu\/yiddish-stage\/matchmaker-matchmaker-act-on-the-stage\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Matchmaker, Matchmaker, Act on the Stage\" \/>\n<meta property=\"og:description\" content=\"Matchmakers and the Yiddish dramatic repertoire\u2013\u2013the latest Plotting Yiddish Drama batch shows why this combination is a perfect match.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uwm.edu\/yiddish-stage\/matchmaker-matchmaker-act-on-the-stage\/\" \/>\n<meta property=\"og:site_name\" content=\"Digital Yiddish Theatre Project\" \/>\n<meta property=\"article:published_time\" content=\"2018-05-24T14:52:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-05-15T15:02:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uwm.edu\/yiddish-stage\/wp-content\/uploads\/sites\/562\/2023\/05\/molly-picon-from-fiddler-on-the-roof.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"444\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Jeremy A Streich\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jeremy A Streich\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/\"},\"author\":{\"name\":\"Jeremy A Streich\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/#\\\/schema\\\/person\\\/acb308ee9146d2d003cc0dfb2a5f08f9\"},\"headline\":\"Matchmaker, Matchmaker, Act on the Stage\",\"datePublished\":\"2018-05-24T14:52:00+00:00\",\"dateModified\":\"2023-05-15T15:02:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/\"},\"wordCount\":1116,\"image\":{\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/wp-content\\\/uploads\\\/sites\\\/562\\\/2023\\\/05\\\/molly-picon-from-fiddler-on-the-roof.webp\",\"articleSection\":[\"1945-1999\",\"Religion\",\"Writers\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/\",\"url\":\"https:\\\/\\\/uwm.edu\\\/yiddish-stage\\\/matchmaker-matchmaker-act-on-the-stage\\\/\",\"name\":\"Matchmaker, Matchmaker, Act on the Stage - 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