‘Morning’s at Seven,’ a Little Old Play With Staying Power, Returns With a Stellar Cast

As theater returns in New York, one in every of this season’s must-see exhibits on many theater-goers lists is Paul Osborne’s Morning’s at Seven, a little play that was first produced in 1939 and has had a shocking lengthy shelf life. It has been revived on Broadway twice and numerous—belief me, I’ve tried to rely them—regional productions.

In a time, when significance and its ugly relation, self-importance, appear to be in high-demand, Morning’s at Seven does not have an “important” line in it. Its plot is just not very sophisticated: In a quiet, small Midwestern city, Homer an eccentric 40-ish son stirs issues up by bringing his longtime girlfriend dwelling to fulfill his household—for the primary time. There aren’t even many memorable strains within the play—one about a phone stands out—however it has attraction to spare and a bunch of meaty roles for actors to sink their enamel into. And this off-Broadway manufacturing options a Broadway-level forged.

This forged has 9 actors, most of whom have graced New York stage for many years, together with stage and display veterans Lindsay Crouse, who obtained an Academy Award nomination for Places within the Heart; Tony Award winner Judith Ivey; Dan Lauria, finest recognized for his work on the TV traditional The Wonder Years; Patty McCormack, who has been appearing for 70 years and might be finest recognized for taking part in the title position in Maxwell Anderson’s The Bad Seed on Broadway and within the motion pictures; Tony Award winner John Rubinstein; Forbidden Broadway‘s Keri Safran; and Jonathan Spivey who was final seen on Broadway in The Front Page, which starred Nathan Lane.

Morning's at Seven Cast
Morning’s at Seven, first produced in 1939, has had a lengthy shelf life with quite a few revivals, on and off-Broadway.

Tony Roberts, who performs curmudgeon David Crampton, began his appearing profession in 1963 and has since labored with a number of the largest names in movie and theater, together with Neil Simon, Woody Allen and Jerome Robbins. But his debut was inauspicious to say the least. His first half was in Ernest Kinoy’s Something About a Soldier, which closed after 12 performances.

And, Roberts advised Newsweek, “I was told by the wise heads at that time that it was the best thing that could have ever happened to me that it closed so early. And I said, ‘Why?!’ And they said, ‘Because now you’ll have to go out and get another job. And you’ll meet other actors and directors. And if things go well, you’ll be in four or five flops right away,’ which is pretty much what happened.”

Tony Roberts Head shot
Tony Roberts, who performs David Crampton in ‘Morning’s at Seven,” sees the play, which is very funny, as being “deceptively easy.”

Things acquired a lot higher, with Roberts’ massive break coming when he changed Robert Redford in Neil Simon’s Barefoot within the Park. “I was in it for 18 months, which made up for a lot of the quick two-week in-and-outs that I did. But that was the first time I had my name above the title.”

Roberts thinks the Morning’s at Seven is a deceptively easy play, one which invitations comparisons to Samuel Beckett. The present, which opened a month after Roberts was born, “preceded all the kind of things Beckett got into with Waiting for Godot and everything about not knowing where you are. Not meaning lost on a road somewhere, but lost in terms of what your life was about and what it meant.

“And these concepts are, are, you recognize, unfold all through [Morning’s at Seven] and form of, I believe, realized by means of my character, David, who appears to be the authority about every part and probably the most educated of all of the characters, however who’s in a method existentially puzzled and bothered by not realizing the place he’s in life.”

Alma Cuervo, who plays Homer’s mother Ida, started her career playing Holly Kaplan in Uncommon Women and Others, Wendy Wasserstein’s first and, by some estimates, best play. What Cuervo does in a climactic solo scene is memorable and touching, all the more so given that she was not long out of college when she performed it. She has come a long way from that ensemble piece to Morning’s at Seven.

For her, the demographics of the cast are special. The number of actors alone is unusual for plays these days when plays often top out at four or five. But the age of the characters all of whom are all at least 39, with Myrtle being the youngest, is virtually unheard of in 2021.

Cuervo told Newsweek, “We [in the cast] have been speaking about it. Usually if there’s a a part of this age [over 60] within the play, there’s one and perhaps the partner, and that is it.”

And then, in fact, there are the résumés of her fellow forged members: “What a company we have. I mean, every day, I just kind of pinch myself. When I first heard we were gonna do it, I was just like: Oh my god, this is amazing. And I can’t believe I’m gonna get to be part of it. And every day, we just laugh.”

And if there aren’t any jokes per se within the play, there are laughs available—loads of them.

But there are additionally echoes Anton Chekhov, which could not be readily obvious to American audiences, for whom, Chekhov is commonly carried out with a solemnity normally reserved for a Eugene O’Neill play or a Kyrie Irving press convention.

“Chekhov is very funny if it’s done that way,” Roberts advised Newsweek. “He called them comedies. And I think when they were originally done, they were broader, and funnier. The American people who did Chekhov, turned it into something much more solemn and resonant of some kind of existential angst.”

By and enormous, nonetheless, productions Morning’s at Seven have at all times let the humor shine by means of. But the humor is counterbalanced with humanity, Cuervo advised Newsweek. “It’s human. I know the only important line I say in the whole play is, ‘Do you love her?’ I mean, that’s what it all comes down to.”

In its easy method, in context, that’s a crucial line.

There is nothing notably showy about Morning’s at Seven. It’s not a star automobile; it is an ensemble piece. Cuervo advised Newsweek, “It’s like everybody has their moment and you get to help them play it. And yet you know, you’re gonna get yours and they’ll do it for you when it hits. It’s the best. But this one is, this one is just so fine. I mean from the very first reading we did, we already knew this was just a gift.”

It’s additionally a welcome reduction from the 24-hour information cycle, the shouting heads and the wall-to-wall hysteria that’s 2021. “I think people need something like this right now,” she advised Newsweek.

Alma Cuervo Headshot
Alma Cuervo, who performs Ida in “Morning’s at Seven,” sees the play as “something people need right now.”

Another of Morning’s at Seven charms is that it’s play, not a screenplay in ready or a therapy for a online game. People speak a lot and sometimes with a objective. Often with older performs, which might appear wordy to the fashionable ear, cuts are made. But the play is tight. “It’s structured so well that at one point somebody was saying: ‘Do you think they’ll put any cuts in?’ And everybody turned: Like you don’t mess with this; they thought about all that before. Now we don’t have to. We don’t have to cut. All we do have to move along.”

As for attending the theater once more, some individuals—even massive theater names—have questioned whether or not they need to come again to exhibits and even depart their properties. Cuervo mentioned, “I think some of the people are more scared about the transportation to come in, but once you’re there, once you’re in the theater, I think you’re probably one of the safer places.”

With Morning’s at Seven, that might be taken to imply bodily and mentally.

Morning’s at Seven runs at the Theatre at St. Clements, 423 West forty sixth Street in New York from October 20 by means of January 9, 2022. For tickets and extra information go to

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