Come Blow Your Horn (by Neil Simon) seems the best of the season's many bad farce comedies. It must be grouped with the bad ones because it writes most of its scenes in duplicate, smudging some of them to boot; makes most of its jokes in triplicate, and should never make half of them at all; and seems to confuse the typewriter bell with a cash register's. But Come Blow Your Horn does squat head and shoulders above a number of recumbent rivals: beyond a lively production, it manages to keep going; it has...
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