The Duluth rip-saw. [volume] (Duluth, Minn.) 1917-19??, 1919-10-04
TALES OF LONG AGO
The Rpsaw Historian Digs Into Doings in the Dim, Dis
tant Past and Unearths Interesting Incidents
Of Days That Are No More.

more Of pleasing their patrons and
gaining distinction for their respective
houses than they did of merely get
ting the money. AS result, they Sc
cured profitable returns without pros
tituting the stage and imposing on To-
cal lovers of theatrical art.
Times have sadly changed since
then, thanks to the influence Of Old
John Barleycorn, moral perversion,
lack of control in this sexstuff and the
demoralizing influence Of sensational,
abnormal movie attractions. But all
that is another story.
When E. s. Willard made his initial
appearance in Duluth in "The Middle
man." with Marie Burroughs as lead
ing lady, all Duluth turned out to
greet the rising Of the curtain.
"The audience was not less remark
able than the play" wrote one Of the
local stage critics at the time. "There
was a crowded house. Society was out
in force. More than the usual number
were in evening dress. The boxes
were filled with parties of society peo-
pie, young and old. Between the acts
the affair took on the aspect Of So
.ial event, as result of smiles, bows
and visits from box to box, and even
with less fortunate members of the
society set, scattered thickly through
society set, scattered thickly through
out the house,
As those living in this decadent gen.
Grafton can see, the social aristocracy
of Duluth in those days of long ago
was fully equal to a first night, first
appearance, or any other theatrical
event. 1t is to be regretted that the
critic Of those days Of long ago failed
to say anything about those who went
out between the acts and who strolled
up and down the foyer, a la New York.
1t would be interesting to know what
young blades and old bloods nibbled
cloves and where they "saw a man"
when Willard first appeared in Du-
luth. But all that is another story,
too.
The aspiring theatrical critic of the
occasion put forth his best effort and
used his full vocabulary of theatrical
stuff in reviewing the play.
"The appearance of Mr.. Willard
and his company in sThe Middleman'
at the Temple last evening"" wrote
the reviewer, "was a triumph that
has no parallel in Duluth's dramatic
history. Bernhardt has been seen on
the Temple stage. Salvini, Mojeska,
Booth and Barrett, all have appeared
before Duluth's public, and have been
given due credit for the genius pos
sessed in so abundant measure, but no
one Of them was ever given so hearty,
so spontaneous, so enthusiastic re-
ception as that accorded Willard.
cat the conclusion of the play"
continued the eminent critic Of that
day in the long ago, "the audience re-
NAMED seated and would not 60 until
the entire company appeared. Hearty
applause. became an outburst when
Mr.. Willard bowed his acknowledge
ments. Duluth paid to Mr.. Willard a
compliment never before bestowed, the
very highest in its power"
The local theatrical critic then went
on to review and analyze Mr.. Will
lard's art. Plenty Of technical words
and phrases were employed and some
of the finely turned sentences were
so finely drawn and so replete with
highbrow stuff that many readers
were at loss to understand what the
writer really meant, so high and so
classical and so technical were his
words.
"Willard was original, natural, in
his portrayal Of the humble potter"
wrote the eminent local theatrical
critic. GA master of technical detail,
his power seems not an acquired art,
perfect though that requirement be,
but in individuality, his force is rep
resented by quiet dignity. The ne
dominant characteristic was modesty.
That makes him great. Nothing is
sacrificed to present effect''-thus
ran the review. Just what the talented
writer meant in some of his forid, full
some expressions was beyond the COM
prehension Of ordinary minds, but,
when the beautiful tender society buds
read that review, they rolled up their
eyes and exclaimed, "Isnt that per-
fectly wonderful and delicious"
Duluth social leaders and theatri-