In his New York On-Stage review, Charles E. Gerber situates Morningside Theater Company’s production of It’s Only a Play within a much larger theatrical and historical context—one that mirrors the play’s own long journey from failure to success.
Rather than offering a surface-level response, Gerber opens his review by tracing Terrence McNally’s decades-long process of revision, reinvention, and persistence. He reminds readers that It’s Only a Play emerged from an early professional disappointment and was reshaped over many years before finally reaching Broadway triumph. This framing establishes the review’s central lens: that the play itself is about resilience, and that any successful production must understand and honor that lineage .
A Review Grounded in Theatrical Literacy
Gerber’s writing reflects deep theatrical literacy, drawing connections to earlier works about the theater—Stage Door, Light Up the Sky, and All About Eve—before returning squarely to McNally’s world. This contextual approach underscores what the review ultimately values in Morningside’s production: not just comedic timing, but understanding of theatrical tradition, character complexity, and tonal balance.
Rather than isolating performances as standalone moments, the review consistently frames the ensemble as a cohesive unit, emphasizing rhythm, interaction, and sustained energy. Individual performances are praised for specificity and commitment, but always in service of the larger storytelling engine .
Recognition of Directional Intent
When Gerber turns his attention to the direction, he highlights the challenge inherent in staging a play that McNally himself revised repeatedly over decades. He notes that directing It’s Only a Play requires navigating comedy, vulnerability, ego, and compassion—often simultaneously.
The review characterizes the direction as “skillful and affectionate,” language that speaks not only to execution but to intent. The emphasis on affection is particularly telling: Gerber recognizes that the production does not satirize theater from a distance, but engages with it from within, allowing humor to coexist with empathy .
A Critical Response to Tone, Not Just Technique
What distinguishes this review is its attention to tone. Gerber repeatedly returns to the idea that It’s Only a Play works when it resists cynicism. His closing assessment describes the production as “a witty, layered love letter to the ups and downs of show business,” signaling that the success of the staging lies in its emotional intelligence as much as its craft .
Rather than positioning the critic above the work, the review reads as an engaged conversation with it—one that acknowledges the risks of theater about theater, while affirming when those risks pay off.
Why This Review Matters
For a director, this kind of review is meaningful not because it praises, but because it understands. Gerber’s piece recognizes the historical weight of the play, the demands of ensemble-driven comedy, and the necessity of approaching theatrical satire with generosity rather than irony.
In doing so, the review affirms a central artistic value: that theater, even when laughing at itself, survives through care, collaboration, and belief in the form.
