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At the Wilbur

By R. C. H.

Before finally arriving in Boston last week, "Separate Rooms" stopped off in New York for two years. This fact alone is enough to tell you it is in the top-flight of comedies. Any light-weight penthouse job which can keep 'em coming on Broadway for two long years needs an ample blessing. It's got to have good new lines that click, a story that interests and the touch of a good comedian; "Separate Rooms" has all of these to burn, and the answer is Alan Dinehart.

Mr. Dinehart collaborated in the writing, did all the directing and takes care of a big share of the best acting--just to give you an idea of how pervasive and versatile the Dinehart touch is throughout. The secret of his touch is that the name Dinehart is a free English translation of that very Freuchy term "savoir-faire." He is the epitome of the "man about town," the smooth guy with a private bar and a soft "a," the fast apple who daily drives up the price of Scotch and is master of both women and wit. When this 20th Century animal tackles the 20th Century problem of getting his newly-married brother (Lyle Talbot) and his reluctant prima donna bride (Anna Sten) out of their separate rooms and into the happy marriage bed, the sophisticated fur really flies and an excellent time is had by all. Llye Talbot is solid and adequate on the boards, and Anna Sten is fresh as a breeze. Half of the lines are good, slightly-elevated and very funny bull-session talk--take this in instead of the next session.

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