Evening Star Newspaper, January 9, 1927, Page 61

| Part3—14 Pages Laug’hing‘ Too BY PHILAND N interesting question was tested out when “The Ara bian Nightmare” was diss closed to an audience, at the outset, exceedingly receptive, ably disposed hecause of the liberal policy previously announced in con- nection with try-out productions Two tickets were sold for the price of one, thus bringing an_evenings entertainment easily with reach of all * ok % are two widely opposed s to the influence of the on box office patronage. There theories 1 of high quality, and if it can be linked with some well known reputation enhances the impression of merit in the show. When musi cal productions have commanded as much as $14 and §16 per scat, when introduced as a staid and almost innocent intrusion into the night club neighborhood of a metropolis it has to be remembered that they were de luxe specimens, as i the case of “Rose Marie.” sl = Experienced producers are, in great majority, of the opinion that unless the attraction is one involv- ing great capitalization the purse must be studied in terms of plain and sincere economy, such as the thrifty housewife practices when she telephones her order for the daily dinner. e . The spectacular production looks for a crash hit which brings people stampeding, money in hand, as they are brought to a prize fight or a world series game. Big money in- vested in spectacle means big risk. The most valuable and reliable bit of property the manager can seek is a simple play easily cast and with plenty of laughs. WA Yet it must be a pla Arabian Nightmare” threw its de- pendence squarely upon the shoul- ders of old Momus and could almost claim the right to use that favgrite antique on the billboard, laugh in every line!” But to make a person laugh and then leave him in groping doubt as to what he was laughing about is more in the nature of ractical joke than wit, and may eave him suspecting that instead of being esteemed as a critically appre- ciative observer he has himself been subjected to a process of abrupt mental reduction. ¥ “The Arabian Nightmare” did not belie its title. It was like one of those mythological animals which take the head of a household tabbie cat and attach it to the body of a desert lion. It is like a combina- tion of synthetically restored “Old Homestead” and “Kismet” well shaken together and poured out into three small and wunsatisfying liba- tions. There is somewhere among our groves and grassy spaces a_monu- ment to a man whose career in Con- ess was made memorable not only y his philantligopic devotion to the interests of i/l¥paid men in the mail service, but also by his poetic graces of speech and his frank admiration of the influence of a generous sense of humor as oppoged to thunderful rhetorical compulsion. He was nick- named “Sunset” Cox because of a bit of descriptive writing, a ‘pen pic- ture of a sunset which aroused read- ers throughout the country to en- thusiastic admiration. He wrote a book entitled “Why Do We Laugh” which resulted in fluent sentences, full of charm for an idle hour, but offering no decisive answer to the riddle that entitled it. He had not the benefit of modern scientific study which analyzes the human brain in terms of not merely philésophv, but almost of ‘mathematics, and left the roblem still open. If a book could e written answering this question in explicit terms every producing manager in New York would devote to it hours of attentive wakefulness each day and sleep with it under his pillow. * % *x X “The Arabian Nightmare” made everybody laugh and then left every- body wondering why. As a story it is most unsatisfactory, for even in an Oriental fantasy there must be a thread of plausibility and a certain gm ortion in cause and result. triking incidents introduced merely for momentary comical effect and unrelated to the development of actual story have little value. * xS The funny lady insisted on being too funny. The ferocious sheik, with a basso profundo rumble, insisted on being too ferocious. The juvenile and pranksome invader of the harem, where he is forced to masquerade as the beautiful captive vamp, is too pranksome. There is such a thing as being too eager to please. Play- goers admire competitions which permit superlatives. Among the bar- i announced earlier in The Nightmare” runs “Glamour” a close second as “the Winter's worst play.” *xox % Old comic pieces as loosely con- structed have been successes, plac- ing their reliance very largely, as in this case, on the sprightly charm of an exceedingly attractive young woman. But such successes had the benefit of a cast of funmakers whose impersonations approached with delicate nearness to legitimate art and who could toss in a song and a little discreet dancing in an offhand way that gave the performance all the air of a lightsome frolic through the realms of fancy. * X ¥ x In spite of all that fiction and motion pictures have done to be- stow upon the sheik of the desert a halo of romance, stage managers continue to ignore the artistic ex- ample of Rudolph Valentino and em- belrilh the role with avoirdupois, bushy whiskers and a voice like the exhaust of an automobile with no cut-out. * K ok % 0 soon anrgv\-' when we re e nquires Rip Van Winklé :f!ems slumber of 20 years. For a little time it secmed possible that the “Are W $lms in which Valentino had played 7 Anrcrl” ,No,t Wisely the St Che Sunday WASHINGTON, D. C., SUNDAY "MORNING, JANUARY 9, 1927. Well ER JOHNSON. | so beautifully would be shown at fre- | quent intervals for months to come. | No player has been more universaliy | admired during life, none more deeply lamented when he made his final exit. | Yet his pictures, aiter enjoying a | brief posthumous furor, have appa | rently faded from the screen. A sim- ilar instance was that oi Caruso, whose singing as reproduced on the phonographs was expected to be im ; in popular favor. However 1 the song, however graceful | and complete the picture, there is a bhackground of sadness, a memory of ivement whic the im- of the pleasure-seeking mo- | and turn< the thought a little | too seriously into the pz | et cheeks | The query was immediately launch- | “Who has taken Valentino's Nobady has taken his place, will take it. A player is as a personality as a poet o Nobody ‘will take the olace of Charles Dickens or Henry W Longicllow. A position of simi- | lar significance or grcater cminence | is sure to be attained by processes of labor and adjustment to the tastes and requirement of the world as it moves on to new ideals, new customs, new restrictions and new tolerations. Eminence in art mdst be contended | for squarely before the tribunal of the world and cannot be awarded by | any system oi arbitrary promotion, however large the billboard and im- mense the type. % * K ok X place | nobody | - A long program of play reading apd play selection was announced | a while ago by that eminent pro- | ducer, John Golden, who brings to | the road “Pigs” after a long success | in New York. If “Pigs” is the best of the siftings of the contest, the out- | look of theater literature is not buoy- | antly inspiring. It has a little more | plot restraint than “The Nightmare,” | but again places its chief reliance upon laugh and an attractive femi- nine personality. Just why it should | have had a long run in New York one of the mysteries ‘of the great metropolis. * * 1 In a big city there are all kinds of people for all kinds of plays, and a satisfactory enterprise depends even ' more on enlisting congenial interest by intelligent publicity than on the creation of extraordinary merit. s is a strictly rural comed apparent confidence in the ass tion that there are so many people not of average personality that speci- mens will be interesting. * X x ¥ It may be that the welcomeness of these ultra-suburban incidents and people is due to the outstanding in- escapable stvle of vocalization, such as was introduced in the “Show Off” by the actor made up and’apparently rehearsed to appear as nearly as pos- sible like an automaton. In the case of “Pigs,"” it is the naive heroine who projects the strident tones that would dr an elocutionary expert to dis- traction. The ear, having been sub- dued to the acceptance of harsh| ‘words, is being also trained to an ap- preciation of harsh sounds. It is the loud speaker that proves most effec- tive in satisfying attention, partly perhaps it rises in command over all other articulate or inarticulate noises. To account for this sudden vogue for art cacophony, it is needless to go further than the automobile horn, whose megaphonic blasts are contin- ually within earshot of every New York rehearsal. * * ¥ % It was an atmosphere of money that flashed with Borealis brightness through theater lobbies, in advertis- ing what it represented as the most expensive revue ever projecetd. One of the most famous of New York’s press agents, with the reduplicative name, Caldwell Caldwell, paused in transit from Chicago to New York and distributed the half-dozen imi- tation 20-dollar gold pieces remain- ing from his campaign in behalf of “LeMaire’s’ Affairs,” confidently an- nounced as the costliest production of its kind ever staged. It is a good imitation, and if tendered in some séctions of the backwoods would no doubt be accepted in exchange for an unlimited quantity of plug tobacco or_sorghum molasses. However, it will not be of the slightest use at the box office. How the coin, so beau- teously embellished with the figure of a chorus Amazon, escaped the jealous vigilance of the %uthorities who protect oug currency is a mys- tery. It is said that the lack of milled edges decided its innocence. Evidently all the imitation gold pieces fell into honorable hands. There is nothing related regarding any one patient or wicked enough to make notches on the outer circumference with a file. The threat of censorship, which constantly hovers over the theater, but never really lights, has | induced a spirit of general bravado which tempts many a producer to sail as closely into the teeth of au- thority as possible. * * * % _And, as moneyv floats through the air, the sum of §5,000 per week was mentioned offhard as the salary paid that favorite singer, graduate of the vaudevilles and revues, Nora Bayes. No less than the comedian does the comedienne yearn for legitimate dig- nity, and Miss Bayes has developed airs of responsibility since the days when she lightly warbled ne on Silver Moon, Away Up in the Sky,” with ‘Jack Norworth rhythmically trudging across the stage with her, and, like' a perfect gentleman actor, giving her the line next the footlights at every turn. In proportions, Nora Bayes has become a trifle Wagnerian, and she sings with an air of confident domination as befits one whose sal- ary is $5,000. * ¥ * x 'P.T. Barnum was one of the early discoverers of the fact that a very large salary exercises a peculiar and irresistible appeal to the imagination of the beholders. He employed an exceptionally handsome woman, named Louise Montague, advertised her as the “ten-thousand-dollar beauty,” and caused many a young farmer to gaze with wistful specula- tion on what a wonderful amount of help a woman with all that money could be in the home. fithn. Nora har Louise- distanced by-38-weeks JUNE. RHOADS- Mutual out of the 40. Barnum’s payment of $10,000 was for the entire season. * %ok % So formulated has the world of the theater become, so closely circum- scribed by considerations of money value, that the old-time glamor of trouping days has almost vanished. It has remained for the circus to in- spire some of the most vivid recol- lections of the romance, fellowship and chivalry distinguishing the life of the showman who had to find and deserve his friendships far from home. No one is better qualified to write under the caption, “The_ Kin- ship 'of the Circus,” than Wells Hawks, who has “feature articled” every item from the spangle dropped in the sawdust by a fair equestrienne to the hairbreadth escape of the tra- pezs athlete, whe nearly missed his old (but never did) while swnw\nx just beneath the topmost canopy. paragraph-describing the ini TAYLOR HOLMES - Keith's CARDELL TWINS and TeD LEWIS-| National sentiment among these resplendent nomads says: “There isn’t a circus playing in any part of the world, now or any time, that does not visit during the season a town where lies the grave of some one of the circus. Do they buy an expensive wreath of La France beau- ties or immortels, sent it out to the cemetery and then forget? They do not. Parade in the morning, two shows a day, just time between mati- nee and night to get a feed in the cookhouse; but time enough to take the band out to the graveyard, and there, about the raised turf that marks the earthly abode of some one of circus kinship, to stand with bowed Heads while the band plays ‘Nearer, My God, to Thee." Kinship of the circus? Yes, a kinship thaf’ Jasts beyond the grave and passes into the spangles and the silvered rig- ging of the On High of the spirit world.” * ok k% It has been noted that a long ac- quaintance with the theater tends to dull the edge of critical asperity. It is such touches as these that rise to mind and compel the realization that the player is not merely a marionet nor the author only a scribbler. It needs some repression to be rid of the intensely human element that brings to the stage heart throbs and suspense of which the manuscript s 30-account, to-regard only the- 4 [} & picture before the eye, the sounds that touch the ear, and then forget all real sense of human brotherhood in a study of the fictitious guises that the show employs in exploiting its philosophies. | —_— T “ - Newman on “Sunny Italy. “Sunny Italy” is the alluring title of the series of traveltalks B. M. Newman has chosen for his eighteenth season here, the four consecutive Sun- days beginning January 16 at the National Theater, as follows: “Naples and Its Rivera,” “Rome with Ostia, Frascati and Tivoli,” “Florence, Assisi, Siena,’Perugia” and “Venice and the Itallan Lakes.” In an entirely new group of motion pictures and magnificent still-color views the antiquity of Italy will be revealed in an original way. The storles and pictures brought back by Mr. Newmah form a pleasing combi- nation of the old and the new, satis- fying both the art student and the traveler who would know more of the present-day life of ‘the people. New- man sought out numerous out-of-the- way nooks and corners that are new and interesting and the great power of Mussolini accor?unled him every- where, the credentials furnished by the Duce removing all barriers. MARGIE. PARTEL- Gayety In the Spotlight. Laura, Wilck, a play-agent, will turm producer in February with a play by Charlton Andrews, called “Get Me in the Movies.” Geoffrey Kerr, well known in Wash- ington, will take over Frank Morgan's part in “Gentlemen Prefer Blondes,” now running in New York, in a few' ‘weeks, ‘Willlam Harrigan leading role in “The to have its. first showing in New York. “Green Fruit,” a musical show with Mitzl as its star, got away to a good start in Columbus, Ohio, last week and will continue West to the Coast. The cast of “Off Key,” opening at Atlantic City January 13, will include Florence FEldridge, Lucile Watson, McKay Morris, Kenneth Hunter and Albert Hackett. The is also known as “Few Can Do It.” A musical comedy is which Jane Aubert, actress, will have the leading role. Harold Atteridge will write the book and the music «will be the work of Felix Wierhinsky, a. Polish composer. Joseph Byron Totten, remembered for his production of ‘Love’s Call” Edourd Bourdet, author of “The Captive,” now running in New York, has returned to France to superin- tend the production of his new play, “Literature,” after having been in this country for four weeks to see the American version of his “La Prison- niere.” ’ A new off-shoot of the recently divided Actors’, Theater is seen in the announcement of the impending pro- ductd of a play called “Damn the Tears,” by Willlam Gaston. The play will be produced by Alexander McKaig. Ralph Morgan will have the leading role and Norman-Bel Geddes will p: vide the tings. A BELASCO—“Lady Alone,” drama. POLI'S—Earl Carroll “Vanities,” and evening. afternoon and evening. noon and evening. and evening. MUTU. ning. NATIONAL—“LeMaire’s Affairs. Tomorrow night at the National Theater, Rufus LeMaire will present Sophie Tucker, Ted Lewis and Lester Allen in “LeMaire's Affairs,” with 28 assoclate players in the principal roles. This revue I8 claimed to be the most elaborately conceived and ex- pensively executed musical offering ever staged, as well as the most costly ever assembled in one revue. Wash- ington is one of the few cities that will have an opportunity of seeing this attraction, which comes direct from a run of over flve months at the Woods Theater, Chicago, and 1is now en route to New York City. The music of “LeMaire's Affairs" is the product of Martin Broones, com poser of the original “Charlot” and “Ritz"” Revues in London. The lyrics were written, by Ballard Macdonald; the skits and travesties by Andy Rice, Ballard Macdonald, Jack Lait and Edgar Allen Woolf. The elaborate ensemble features wera staged by Bobby Connolly, who directed several Ziegfeld productions. The entire pro- duction will be presented under the personal supervision of Rufus Le- Maire. The featured playets include John Price Jones, Willlam Halligan, Col. leen Adams, Lon Hascall, Bobby| Arnst, John Hamilton, Sally Starr, Frank Corbett, Olive Brady, Vivian Glenn, Dorothy Deeder, Helen Brown. Lester Dorr, Nellie Ferns, the Car- dell Twins, Ted Shapiro, Ida Miller, Willlam Miller, Gloria Glennon, Peggy Daubert, Nat Peterson, Betty Chapin and other talented artists. Among the many novelty features are Ted Lewis’ Merry Musical Clowns, and the Albertina Rasch American Ballet. There is also a large and ex- pertly trained beauty chorus and Gfi of what are claimed to be the world's loveliest girls. KEITH'S—Silvertown Cord Orchestra. The headline attraction at B. F. Keith's this week, beginning this aft- music lovers in the B. F. Goodrich Silvertown Orchestra, one of the high- est paid bands in America. These 12 kings of the radio, with their famous silver masked tenor, are under the direction of Joseph Knecht, for many years conductor of the concert orches- tra at the Waldorf-Astoria, in New York City. Featured also will be Taylor Holmes, dramatic star of many successful plays, who will be heard in bits of | dialect and humorous stories, and who also will act as master of ceremonies throughout the entire bill. X In addition are Ferry Corwey, “the merry clown,” who is also a musician; Hyde and Burrill, in song, dance and patter, “A Bit Different”; the Three Swifts, in fast and clever juggling; the Carol Sisters, called “Two Har- mony Girle’’; Juanito and Paco, in a dance offering, assisted by Rita and Jose Martinez, and Donahue and La Salle. EARLE—George Beban, “The Loves of Ricardo. George Beban, distinguished char- acter r:clor‘ will come to the Earle Theater this week, beginning this afternoon, in person and with a com- pany of 27 players, to appear on the stage as well as on the screen in Mr. Beban's production of “The of Ricardo,” In which the star first is seen as a greengrocer and then as the unwill- ing cook on a rum runner. The novel aspect of this offering lies in the fact that after the drama has progressed for a period on the screen it dissolves into spoken drama on the stage, with Mr. Beban appearing in the flesh, sup- ported by the full company which ap- peared with him in the making of the film, and after their performance for 22 minutes, the screen again is lowered and the conclusion of the ac- tion is depicted on the silver sheet. Today the picture will be begun at 4 o'clock, 6:50 and 9:10 p.m., and Mr. Beban and his company will begin their performances at 4:25, 7:15 and 9:35 pm. On weel days the picture will start at 2:05, 415, 7:05 and 9:20 p.m., with the spoken drama at 2:30, 4:40, 7:30 and 9:45 p.m. Dances by specially engaged artists and a musical interlude by Mn Be- ban's Neapolitan String Quartet will be interwoven into the performance, making a unique combination of pho- toplay, spoken drama, song, dance and {nstrumental music. The vaudeville bill will feature Harry Holman and Edith Manson in Mr. Holman's 1927 comedy version of “Hard-Boiled Hampton,” with songs by Miss Manson and amusing dances by Holman; Ward and Dooley in a song, dance and novelty turn, and Kranz and Walsh, singing comedians, in a skit, “We Better Sing,” in addi- tion to the customary house features Loves NATIONAL—‘Cradle Snatchers.” “Cradle Snatchers,” one of the out- standing farce comedies which enter- tained Manhattanites for a season and a half at the Music Box Theater, home of the Music Box Revue, comes to the National Theater for a week's engage- ment next Monday night, with mati- nees on Wednesday and Saturday. Blanche Ring is featured in the role of Susan Martin, one of three married women who becomi: neglected by their husbands plan the novel idea of hiring three collegiate youths to be their squires and pseudo-lovers to “wake up” the neglectful ones. The “waking up” results in many hilarious situations and makes for unlimited fun. . The play is the joint work of Russell Medcraft and Norma Mitchell, and was staged by S8am Forrest, who was responsible for the production of “Rain” and other Sam H. Harris suc- cesses. The matinee on Wednesday will be ;:. 5:)}‘0 popular price of 50 cents to STRAND—“Sizzlin’ Feet.” Next week, beginning Sunday, the Strand permanent cast of players will appear in_Victor Hyde's syncopated comedy, “Sizzlin’ Feet.” Irvin' B. Hamp will hold down_top honors, with his .co-workers, Lew Lewis and Earl Root, and other favor- KEITH'S—"Silvertown Cord Orchestra,” vaudeville, STRAND—“Topics and Tunes,” musical presentations. AL—"Kuddling Kuties,” burlesque. ernoon, promises a rare treat for | ites will include Florence Draka and Billee La Jfonte, Rush and Butler and the “Folies Bergere Girl who add pep and beauty to the show with their specialties and-novelties Attractions In Washington Playhouses This Week MUSIC AND DRAMA. NATIONAL—"Le Maire’s Affairs,” revue, Tomorrow evening. Tomorrow evening. This evening. This afternoon EARLE—George Beban—“The Loves of Ricardo,” vaudeville. This This after- GAYETY—“Mutt and Jeff's Honeymoon,” burlesque. This afternoon This afternoon and eve- and pipe organ accompaniments by Alexander Arops on the Kimbalil grand organ. . STRAND—"Topics and Tunes.” The musical comedy presentation at the Strand Theater, beginning today, will be Victor Hyde's “Topics and Tunes,” featuring Irvin B. Hamp and the Strand's permanent cast of players. Hamp in his comedy sketches, with his co-workers, Lew Lewls and Earl Root: Billle Lee and Florence Draka, in solo numbers, and Rush and But ler in specialty song and dance nume- bers, are outstanding attractions, whila the “Folies Bergers Girls,” in- cluding _ Dorothy = Rouland, Duley Dowd, Billiee Lee, Helen Maloney, Genevieve McAuliffe, Helen Spitzer, Laura Dooley, Betty Milford, Nan Kelly, Vera Vinci, Isabella Mohacey and 1da Hildenbrand, will introduce more of their original novelties. On the screen will be shown “Stella Dallas,” adapted from the book by Olive Higgins Prouty, a vividly dra- matic_story of typlcal American life, Belle Bennett appears as Stella Dallas, with Ronald Colman, Alice Joyoe, Jean Hersholt, Lois Moran, Douglas Fairbanks, jr., and Vera Lewls in sup- port. GAYETY — “Mutt and Jefl’s Honeymoon.” The Bud Fisher cartoon, compr! into a burlesque extravaganza, and Jeff's Honeymoon,” will be seen at the Gayety Theater this week. In producing the present edition of the trials of the famous pair, “Mutt's” woes and “Jeft's” successes are a secondary consideration. Joe Yule, eccentric comedian, will have the stellar part and relfeve the knock- about pair from their dafly round of misfortune. He wfll be assisted by Sid Gold as straight man. “Mutt” and_“Jeff” will be fmper- sonated by Don Clark and Paul Paulos. Among the feminine contingent are Lola Pierce, Margaret Conway, sou- brette; Margie Bartel, spectalty dancer, and Emma Weston, character comedienne. Offering a singing comedy speclalty, the Pacific Four will mix in_“bits” and scenes with Artie Bauers, Hebrew comedian, and thers will be a large chorus of singing and dancing girls, with a dozen changes of costumes for as many musical numbers, MUTUAL—“Kuddling Kutiee.” “Kuddling Kutles” is announced as the attraction at the Mutual Theater, commencing teday, with Max Flelds as the leading comedian and June Rhoads featured. Others are Anna Fink, prima donna: Elene McKever, ingenue; nie Kel- ler, Seaber Hayworth, Jack La Roy and a youthful chorus possessing dash and agility. “The Girl With the Dia- mond Mask" is announced as a sen- sational feature from the Egyptian Hall, London. JANET RICHARDS—Tomorrow, Miss Janet Richards will give her usual talk on “Public Questions, Home and Foreign,” tomorrow morning in the Masonio Temple, when she will give an interpretive revisw of the world’s work for the past week. Under forelgn affairs Miss Richards will speak especially of “Reza Khan, the Mussolini of Persia,” with an ac- count of the interesting conditions that brought him to the Persian throne. These o'clock. WILLIAM RUFUS SCOTT—Tomor- China and the problems raised for the United States by civil war in that country will be reviewed tomor- morrow morning at 11 o'clock by Willlam Rufus Scott in his weekly current events lecture at Rauscher's. Issues confronting the American Government in Mexico and Nigara~ gua also will be analyzed, The work of Congress and fmpor- tant developments here and abroad will be covered usual, ‘Washington Readers® Club. Members of the Washington Read- ers’ Club on Friday and Saturday evenings at 8 o'clock will present “The Mummy,” a comedy fantasy in three acts, by Ada Louise Townsend. ‘These performances will be given in Plerce Hall, All Souls’ Church, Six- teenth and Harvard streets, under the auspfces of the Lenda-Hand and auxiliary, The cast will include Wil liam E. Bryant, Leslie Waudby, Mrs, Willlam E. Bryant, Mrs. Wilsy O. Ison, Lulu G. Adams and Ada Louise Townsend, the author of the play. talks are given at 10:50 Coming Attractions. On the screen will be shown the film version of the world-famous opers, “Faust,” with Emil Jannings in role of Mephisto. The story of “Faust' is the tale of the struggle between the good and the evil in man and the temptation that power and riches offer. EARLE—Anniversary Bill A special gala bill is being assem~ bled for next week, beginning Sunday afternoon, in celebration of the third anniversary of the opening t3 the pube« lic of the Earle Theater. The vaude- ville entertainment will be contributed by artists brought here for tha occa- sion. The screen attraction will have as its star, Marle Prevost in “Man Bait,” and additional features will in- clude short reels, orchestral numbers and pipe organ music, GAYETY—"Lucky Sambo/* Hurtig_& Seamon's production of “Lucky Sambo,” the famous colgred organization, with new costumes and scenery, but with the same cast, will come to the Gayety Theater next week. One of the big numbers is “Bane dana Days,” filled with the trueflavor of the old South. Arthur Porter, in the role of the village herb doctory is the singer, backed by a full cho: ‘wearing calicoes and the bandanna of half a century ago. The melody i said to have the lilt of the true negr® music. MUTUAL~"Happy Hours.” “Happy Hours" is the coming at- traction at theb Mutual Theater, an- other popular burlesque’ show on-the l(utnrflmn. { o)