Paul Osborn’s play Morning’s At Seven is one of theater’s great rescues. A flop on Broadway in 1939, it was resurrected in 1980 by director Vivian Matalon, whose peerless production established it as a classic piece of Americana. It’s a gentle satire on small-town life, with busybodies and petty jealousies and snobbery, and although it’s as sturdily constructed as a Chekhov play, it’s not as dark. There may be conflicts, but the characters have more fun—and are fun to be around.