Judith Ivey, Tony Roberts, John Rubinstein, Patty McCormack... To Star in Off-Bway MORNINGS AT SEVEN — Page 2

Harriet, Please post back. Alley is listed on the website, but that doesn't mean she has already started.

Thanks Harriet, for the info. At this point, I can't decide between this, Chicken & Biscuits (only with a rush ticket) or The Girl From The North Country (only with a rush ticket). I may do something I never do....wait to purchase on day of arrival.

Saw this on Saturday night. Mills continued to perform the role on-book. As indicated earlier, it was an earnest effort though a bit distracting. Probably would have preferred to see the understudy off-book. In time - I’m confident that Mills will give a respectable performance. If you’re the thinking about seeing this - I’d give it a few weeks.

It’s a sweet play. And all are attempting to give it a nice production. Lindsay Crouse seems a bit miscast, but Dan Lauria, Tony Roberts, and Patty McCormack are all terrific.

Closing a month early on December 5.

https://www.playbill.com/article/off-broadway-revival-of-mornings-at-seven-will-close-early

I was first introduced to Tony Roberts and Betty Buckley in the 1969 London production of "Promises, Promises". I still remember how much I enjoyed the show. More than half a century later, they continue to entertain. Good for them, and good for us!

Not surprising. I’ve worked at Clements before and EVERY show has trouble selling there, no matter what it is or who is in it— which is kind of a shame, because even though it’s a small house I do think it’s a pretty alright venue (at least compared to some of the other Midtown off-Broadway theaters).

Ermengarde, Thanks for the info. I would have seen this during my trip on December 1, just for the cast. But Taffy informed the board of a cheap ticket for the loge of Sunset. So I went with that instead. Based on many of the posts I have read, many are agreeing with my gut instinct. However, my seat location is fantastic and I can't beat the price. I have only been at the Vivian Beaumont twice, but never from the front row center of the loge. So that in itself will be a treat.

Updated On: 11/23/21 at 03:50 PM

I like the theatre space but it does seem to have developed an unfortunate mojo problem. It has not always been thus. A shocking number of established companies spent a period resident in that space. Starting with American Place Theatre in its heyday (which was before my heyday lol).

HogansHero said: "I like the theatre space but it does seem to have developed an unfortunate mojo problem. It has not always been thus. A shocking number of established companies spent a period resident in that space. Starting with American Place Theatre in its heyday (which was before my heyday lol)."

I've never really understood how a theatre (as a venue, not producer) can develop bad mojo...yet it happens a lot, on Broadway and off. In terms of aesthetics and location, it's not like St. Clements is significantly better or worse than the Westside or the Jerry Orbach. Or the Winter Garden (sometimes viewed as a crowned jewel of Bway) vs. the Lunt (a "flophouse" with a few exceptions).

Updated On: 11/23/21 at 05:51 PM

ErmengardeStopSniveling said: "I've never really understood how a theatre (as a venue, not producer) can develop bad mojo...yet it happens a lot, on Broadway and off. In terms of aesthetics and location, it's not like St. Clements is significantly better or worse than the Westside or the Jerry Orbach. Or the Winter Garden (sometimes viewed as a crowned jewel of Bway) vs. the Lunt (a "flophouse" with a few exceptions)."

I think there are different reasons, and I think they are different on and off B. On Broadway, I think it is more about the desirability of the venue and how that translates into what tenants end up there. (and of course I also believe that there are no rules so there are no houses that cannot shake the stigma and there are famous examples (e.g., Wicked) that change perceptions. (The Marquis is still waiting for its break I guess but that involves not just mojo but ghosts .)

Off Broadway, I think it is different because you don't really have large landlords except the Shuberts at NWS and Stage 42, and, to a lesser extent, the Theatre Row situation. So you have a few situations where the landlord is functioning more as a producer and, in the case of St Clements, as I understand it, Pecadillo functions as the landlord, and a presenter. I may not mean to be quite this harsh, but the venue (although good from a physical space standpoint, as I said above) has a "dustiness" about it that perhaps reinforces a substantive dustiness. I also think we may be overstating mojo some in this case because what it's really about is that the target audience for Mornings at 7 with this stellar cast is older (and whiter) and, as was said, not ready to go to the theatre in large numbers. But on some level I think mojo is real because it is designed. In the same neighborhood, I think ars nova has mojo in a way that Pecadillo does not. Having said all of this (which I suspect reads as all over the place) I stand by the idea that there are usually reasons for mojo and it is not just some spiritual thing. And to that point, and Huss's observation below, I think the Little Shubert lacks mojo for the same reason the Marquis does: it's difficult if not impossible to make a rational budget there so we think of tenants as being of the desperate sort. Until one comes along ...

lol can u lose what u never had?