Lest We Forget: Chicago's Awful Theater Horror

CLOSE WATCH FOR FIRE

Two firemen belonging to the fire department, but paid by the theater, come on duty at 7 o'clock. Every light or naked torch carried on the stage it is their duty to watch. It is the custom here, as at all theaters, to keep blankets dripping wet hanging at certain points all round the stage. Cutting-away apparatus and buckets are kept in the flies.

"I have never heard of a great theater fire," said Mr. Dana, acting manager, "where trouble has been caused by flames in the front of the house. The exits in London theaters must be direct to the streets, not false exits, as I am afraid is too often the case in America. Nevertheless, when all is done, the fact remains that no one has ever invented a patent for stopping a panic."

TREE TELLS OF RUSE

"It is certainly the most terrible tragedy I ever heard of," said Mr. Tree, the proprietor. "It is quite easy at times to prevent a panic from the stage by a little presence of mind. I was playing once in Belfast when suddenly behind a transparency I saw a reddish blaze and guessed it was a fire, but went quietly on until a convenient pause. Then I announced to the audience that something was out of order and the curtain would descend quietly and remain down a few minutes. I assured them there was absolutely no danger. The curtain descended amid applause, and while the band played the fire was quickly smothered. The curtain rose and the play went on without a soul leaving the house.

"It is quite possible at such a time for a person to hypnotize an audience. In all cases of theater disasters it has been the panic, not the fire, that has caused the big loss of life.

"It is probable if the audience had known where the exits were the Iroquois theater might have been cleared in two minutes. I think that every night uniformed attendants should be stationed in all theaters, whose duty it should be to call out 'This way out' when the audience is leaving. I am surprised there appeared to be no outside balconies with stairways, as is the case in most American theaters, which is an advantage which we have not got here."

FORTUNE FOR SAFETY

Sidney Smith, business manager of the Drury Lane theater, where "Mr. Bluebeard, Jr.," was produced two years ago, said: "The kernel of the whole matter is that human beings will be human beings. There is no possible provision against a panic. Our theater is the only isolated one in London."

W. C. ZIMMERMAN ON EUROPEAN THEATERS

W. Carbys Zimmerman, of Chicago, the well-known architect, sailed for America on the Saturday succeeding the fire, with his wife, in a state of intense anxiety as to whether his children had been caught in the Iroquois disaster.

Mr. Zimmerman had just completed a tour of inspection of the theaters of Vienna, Paris and London. "My work in London," he said, "was interfered with by the appalling news from Chicago. I had seen only a few theaters here when I heard of the Iroquois fire. After that I had no heart to make further investigation. My observation leads me to think the Vienna theaters the safest in Europe. Many of them are quite detached from other buildings. They are splendidly furnished with exits and fire-fighting appliances. The theaters of Paris, except the best ones, are extremely dangerous.

"From what I saw in London I judge that fire in many theaters would result in great loss of life. The passages are often so narrow that two people can scarcely pass. The managers naturally put a rosy face on the matter. They pretend that the Chicago fire has not reduced their bookings, but intelligent observers know better. Immense improvements are certain to be effected in London theaters in the immediate future.

"Every theater should be isolated from other structures. It should have exits all round and these should be used regularly. There should be no emergency exits whatever. The fireproof curtain should be used constantly in place of the ordinary drop curtain. All passages should be straight and wide and all scenery noncombustible. Lastly, professional fire fighters should be properly posted throughout the performance. Europe recognizes that amateur firemen are useless in a crisis."

THE EFFECT ON GAY PARIS

Thousands of Parisians, both French and Americans, including all those who had friends and relatives in Chicago, eagerly scanned the list of the dead and injured in the Iroquois disaster, as it was posted at the newspaper offices and distributed throughout the hotels and public places in the city. This step greatly relieved the anxiety of many of the American colony, while at the same time it confirmed the fears of those whose friends or acquaintances were caught in the fire.

The theater managers complained at once that the Chicago catastrophe had a most damaging effect on receipts. All the popular matinees were comparatively deserted and the children's New Year pantomimes were complete failures. Cool heads pointed out that the Parisian theaters, as a rule, are better equipped against fire than those of Chicago, but without effect. The lesson of terror had seized the public.

UPHEAVAL OF BERLIN THEATER WORLD

The Berlin evening papers of the fateful day expressed horror and sympathy over the Chicago catastrophe, comparing the details with those of the Vienna and Paris theater fires. The fire department of the city announced that it would immediately make a fresh study of the protective arrangements of the local theaters, so as to prevent, if possible, a disaster similar to the one at Chicago.

Directors of all the Berlin theaters were promptly summoned to police headquarters and apprised of the kaiser's demand that fire protection be made more adequate. The directors of many houses came before their audiences and publicly stated their intention to install the new facilities ordered by the kaiser. These precautions included the lowering of the iron curtain five minutes before each performance and during the intermissions; an increase in the number of firemen on and off the stage, and illuminated exit signs, incapable of extinguishment by smoke or flame. Before each performance the firemen were also to make minute inspection of the building and furnish a formal report that all was right before the curtain was raised.

The greatest bomb, however, cast into the theater world of Berlin was Emperor Wilhelm's order summarily closing the Royal Opera House until certain alterations, necessary for protection from fire and possible panic, were made. The kaiser's action attracted the attention of the whole community, which concluded that if the largest and best-equipped playhouse in Prussia was unsafe many minor establishments must be positively dangerous. Berlin, without doubt, contained a dozen music halls and other places of amusement where a fire panic would be deadly, and they followed the fate of the Royal Opera House and were closed until safeguards approved by the proper authorities were provided. In the future proprietors of Berlin theaters will also station special policemen in their houses for the sole purpose of controlling audiences in case of fire, or panic, or both. Thus did the Chicago tragedy profoundly affect one of the great theater centers of the world.

MR. SHAVER ON BERLIN THEATERS

Cornelius H. Shaver, president of the Railroad News Company of Chicago, who was in Berlin at the time of the fire, said: "Many of the theaters in Germany strike me as firetraps. Several Berliners assure me that the ushers are the only ones sure of escaping with their lives from at least three of their best houses. The auditoriums in many German theaters are 150 feet back from the street and to reach them one must journey through a labyrinth of courts, corridors and sudden turnings. In the interior the precautions against fire are excellent, including iron curtains, automatic sprinklers and squads of city firemen; but German theaters and hotels are lacking in so essential an equipment as outside fire escapes."

VIENNA RECALLS A HORROR OF ITS OWN

The catastrophe at Chicago aroused the most painful interest and the utmost sympathy everywhere in Austria, the Viennese having a keen recollection of the disaster at the Ring theater in 1881, when 875 people lost their lives. Intense anxiety prevailed in the American colony, as many doctors and musical students who form the bulk of the colony come from the Middle West of the United States.

Herr Lueger, the burgomaster of Vienna, sent a cable message to Mayor Harrison, expressing sympathy and deep condolence over the terrible catastrophe.

THE NETHERLANDS AND SCANDINAVIA

Upon receipt of definite news of the Iroquois theater disaster the theaters and music halls in The Hague were overhauled by the authorities. Amsterdam and Rotterdam demanded strict enforcement of the regulations against fire and new legislation looking to that end was at once put in force.

In Copenhagen, Stockholm and Christiania the Danish, Swedish and Norwegian licensing authorities for public amusements caused a rigid inspection to be made of all playhouses with a view to better safeguards against fire, and that inspection is still progressing and will doubtless bear good results as in other European centers.

Enough has been said to indicate that virtually the entire hemisphere of the West has been stirred to practical action by the terrible calamity which this book records. It is not within the range of human possibility that theaters can be made absolutely perfect, any more than other human institutions, nor is it possible that the awful lesson furnished by the Iroquois theater disaster will have been forgotten before substantial improvements are made in the amusement houses of the world for the present and future protection of human life.

CHAPTER XVIII.

SUGGESTIONS FOR SAFE THEATERS

Clarence J. Root, of Chicago, an assistant of Prof. Cox in the weather bureau, makes the following suggestions in connection with the safe-theater agitation:

"Location – All theaters to be in buildings by themselves, like the Illinois and Iroquois. No stores or offices to be located in them. Buildings should be isolated, with wide private or public alleys or courts entirely around the rear and sides. A false wall could be built in front of the side courts where they project upon the street, thus helping the appearance of the block. These should, however, have wide arches through them.

"Construction – All buildings to be absolutely fireproof. The buildings should be built of steel, fireproof tiling, steel lathing, etc. Scenery of asbestos or aluminum would be practicable. Aluminum is light and easily handled. The seats to be upholstered in leather. The floor to be constructed of metal, cement, mosaic or composition, with thin rubber matting over them, such as is used on sleeping-car steps. Ornamental iron work can be used on boxes, front of balconies, etc. Stair railings of brass or fancy copper. The fire curtain to be of steel and asbestos both. The heavy steel would prevent any bulging from a draft.

"Exits – No steps or stairs should be used in the aisles or exits or anywhere in the theater. Easy inclines, similar to the ones in the new Pittsburg theater, should be used in the aisles, the inside entrances and exits, and the outside exits, all to be covered with rubber to prevent slipping. Two or three very wide exits ought to be provided on each side of the theater, and in addition, one (say twice as wide as the aisle) at the rear end of each aisle, the hallway leading from these rear exits, if not opening outdoors, to be wide enough to accommodate the entire number of exits. These rules should apply in the balconies, also. The outside fire-escapes to be long, easy inclines, with high sides, to prevent people from jumping. Each exit to have its own independent incline, so that the crowd from the first balcony cannot block those from the upper gallery, as in the Iroquois fire. All doors to swing outward and not to be locked during the performance. They should be inspected before each play and should be so connected, electrically, that every door in the house could be thrown open instantly, merely by the touching of a button, these buttons to be located on the stage and other places convenient to the ushers and employees. Theaters should not be built 'L' shape. That was one fault of the Iroquois. The crowd naturally followed the aisles to the back of the house and then, instead of finding themselves at the outdoor exits, as in most playhouses, they had to go clear to one side of the theater. This mixed them up with the crowds from the other aisles and concentrated too many people in one place.

"Summary – A theater as described above could not burn, but a sprinkler system would do no harm. Heating and power plant in another building would prevent danger of an explosion. The aisles should be very wide and no standing room or portable chairs allowed. It may seem unnecessary in a fireproof theater to have such elaborate exits, but panics will occur from other causes than fires. A plan of the house should be printed on the cover of the program; this should plainly show the exits. A description of the fireproof qualities of the theater should also be printed. This will secure the confidence of the audience, and perhaps avert a panic. In a house built and equipped, strictly in accordance with the above ideas, a fire would be impossible and a serious panic unlikely."

FRANCIS WILSON SAYS "NO STEPS."

Francis Wilson, the well known actor, in speaking of the fire, said:

"I suppose similar scenes always will follow a sudden rush in any building crowded with men and women, but I feel strongly that theater buildings could be improved so as to reduce the danger in a stampede to a minimum. It is my opinion that there should not be a single step in a theater. The descents should be gentle inclines. That this is possible is shown by the construction of a new theater in Pittsburg, where even the gallery is reached by inclines.

"It is the thought of the many stairways that must be passed quickly, and possibly in darkness, that drives the occupants of the galleries to panic at any alarm. If they were sure of a clear pathway straight to the street half their fear would be allayed. In doing away with steps in the auditoriums of theaters the builders should not forget the actors."

STAIRCASES WITH RAILINGS

Suggestion by W. B. Chamberlain, of London:

"In nearly all fires in theaters loss of life seems to be at the head of stairs. This is natural, as persons who come first to the head of the stairs, hold back, being afraid to go down quickly lest they be pushed down by those behind them. People seem to think a broad staircase safer than a narrow one. I don't think this is the case, as in a narrow one you can put your hands on two sides, and go down with less fear of being thrown forward. All wide staircases should be provided with handrails, for if you have both hands on handrails you can run down quickly. If theaters were below ground you would in case of fire run up instead of down. They would be much safer for want of air to feed the flames."

PRECAUTIONS ENFORCED IN LONDON

According to Sir Algernon West, of London, since 1858 not a single life has been lost in a properly licensed theater building in that city, except of a fireman, who perished in the performance of duty at the Alhambra in 1882. During the few days following the Iroquois disaster, theater managers and the public praised the wisdom of the rules of the county council, whereas some of the former had been wont to find them rather irksome. In addition to the main rules about lowering the asbestos curtain once during the performance, doors opening outward, stairways and passages to be kept free, there are some other precautions which must be observed. All doors used for the purpose of exit must, if fastened during the time the public are in the building, be secured during such time only by automatic bolts only of a pattern and position approved by the council. The management must allow the public to leave by all exit doors. All gas burners within reach of the audience must be protected by glass or wire globes. All gas taps within reach of the public must be made secure.

An additional means of lighting for use in the event of the principal system being extinguished must be provided in the auditorium, corridors, passages, exits and staircases. If oil or candle lamps are used for this purpose, they must be of a pattern approved by the council, and properly secured to a noninflammable base, out of reach of the public. Such lamps must be kept lighted during the whole time the public is in the premises. No mineral oil must be used in them. All hangings, curtains and draperies must be rendered noninflammable. Scenery is painted on canvas that has been first prepared with a solution recommended by the county council, to make it noninflammable. The paints used by the scenic artists contain no oils.

WHAT THE CHICAGO CITY ENGINEER SAYS

John Ericson, the city engineer of Chicago, has this to offer:

"A theater building should have an open space on all sides with exits and entrances leading directly out, and not, as now is mostly the case, be wedged in tight between other large buildings, with a number of exits all leading to one or two not too wide hallways which again, together with the stairways from the balconies and galleries, merge into one entrance. These halls and stairways are only too easily blocked by the frantic people in case of a panic. The aisles in most of our theaters are also too narrow and should be made considerably wider.

"The excuse that space is too valuable for such extravagance cannot hold. If the return for the capital invested in such a case does not seem sufficiently large to the investor, then rather charge a little more for the entertainment or reduce the number of playhouses so as to insure full houses, but in the name of humanity construct those that are used in such a way that calamities such as have occurred will be an impossibility.

"I am also of the opinion that perforated water pipes over the stage, into which water can be turned at a moment's notice so as to drench the whole stage if necessary, would add greatly to the safety of life and property.

"An automatic sprinkler system would probably have been less effective in the case of the Iroquois fire, as great damage to life would have probably been done before such sprinklers would have been put into action."

OPINION OF A FIREPROOF EXPERT

William Clendennin, editor of the Fireproof Magazine, condemned the Iroquois Theater building as long ago as last August. Here is his opinion, which he asserts is based on a personal investigation:

"The Iroquois theater was a firetrap. The whole thing was a rush construction. It was beautiful but it was cheap. Everything but the structural members was of wood; the roller on the asbestos curtain, the pulleys, all of a cheap compromise.

"I made an investigation of the theater last August and condemned it on four different points. My condemnation was published in the August number of the Fireproof. The points are:

"1. The absence of an intake, or stage draft shaft.

"2. The exposed re-enforcement of the concrete arch.

"3. The presence of wood trim on everything.

"4. The inadequate provision of exits.

"A theater has two parts – the stage and the house or audience part. There should be a roll shutter between the two and the best sort of a curtain is a compromise. The poor stuff in the curtain at the Iroquois theater made it doubly a compromise; a great danger, a terrible trap.

"The stage may be compared to a closet. When you open a closet door the draft is outward, not inward. So when the fire started on the stage the draft pulled it toward the audience. It was a quick flame puff.

"The arch, or ceiling, was covered with a cheap concrete. The first puff of flame destroyed this. It crumbled away, exposing the twisted mass of steel re-enforcement and girders, and fell on the audience. This killed many. Looking from below, the bewildered, choking and maddened crowd thought it was the result of a panic above. They believed the galleries were falling and in the rush resulting many more were killed.

"The Iroquois theater was the most-talked-of construction in the country at the time of its building. It was believed to be the expression of the most modern ideas in regard to theater building; to be about as near fireproof as one could be. My investigation satisfied me that it was one of the worst firetraps in the city. There was so much wood and so much plush and inflammable trimming about everything. The insufficient exits tell the rest of the story."

ILLUMINATED EXIT SIGNS

On this point T. B. Badt, a consulting electrical engineer of Chicago, writes:

"It has been stated that in the Iroquois no exit signs were over the doors, and it has been suggested that this was one of the causes of loss of life. The question arises, what would signs have been good for if the theater was thrown in darkness? The signs would not have been seen any more than the doors underneath the draperies. In order to avoid such trouble I should propose the following:

"Have over each door a transparent sign made out of metal with glass crystal letters, and have same illuminated from the outside of the building wall by means of a lantern attached on the outside, and have this lantern supplied by a source of light independent of the theater lighting system, either electric or gas. The sign would be illuminated at all times during the performance; it would not be an objection during dark scenes, because there would be practically no light thrown through the glass letters to interfere with the darkness inside; at the same time the sign would stand there glaring the word 'exit,' no matter how dark the theater or how light the theater. The main point I am trying to raise is that any device which has to be operated in case of an emergency is liable to fail, but an illuminated sign that will be illuminated at all times will be there no matter what trouble may happen, because nobody can forget to light it during the excitement, as it is already lighted before the performance commences. This, in my opinion, is the keynote for all devices which are intended to prevent panics in theaters. An automatic device is dependent upon certain conditions, usually rise of temperature near the ceiling. A manually operated safety device depends upon the presence of mind and cool-headedness of a certain employee and in my opinion all these features should be eliminated. Everything should be ready for an emergency and not be dependent upon somebody or something to make it ready. All exit doors ought to be unlocked and swing open towards the outside, and this, in connection with the permanently illuminated sign above the door saying 'exit,' in my opinion, would prevent any of the calamities heretofore experienced in theater disasters."

CHAPTER XIX.

THE SWORN TESTIMONY OF THE SURVIVORS

Scores and scores of witnesses assembled in the little committee rooms and antechambers of the council hall in the great Chicago administrative building, each with his story to add to the story of horror, when the inquest over the dead began on Thursday, January 7, 1904, one week and a day after the disaster.

Some were muffled under great rolls of bandages that concealed frightful scars and burns. Others gave no outward indication of the season of terror they had passed and survived to tell the tale. Fashionable theater goers, actors, actresses and stage hands, chorus girls, belted policemen and grim firemen, all met on terms of temporary equality, forming a heterogeneous assemblage waiting the call to take the stand. One by one they were admitted to the vast council chamber where for days the inquisition continued.

Vast throngs of curious besieged the place, clamoring for opportunity to view the proceedings. None, save the favored few citizens to whom tickets were issued, municipal, county and state officials and representatives of the press, enjoyed that opportunity. To them day after day a growing tale of suffering and death was unfolded such as has not fallen upon mortal ears for half a century. It was a harrowing recital that satiated and sickened the auditors and left them faint at each adjournment.

For days preceding the opening session Coroner Traeger his deputies and the six jurors had been engaged in a canvass of hospitals, undertaking establishments and morgues, viewing the dead. Nor was that ghastly work over when they entered upon the semi-judicial task of taking testimony. Ever and anon they halted the inquiry to proceed to the bedside of some victim that had died after lingering suffering. This formality was necessary before burial permits could issue. Each succeeding call brought to the jurors a shudder. Theirs was a gruesome task for the public service and they felt its burden keenly.