EFFECT OF THE FIRE NEAR AND FAR.
Many of the members of the "Mr. Bluebeard, Jr.," company were arrested and
retained as witnesses in the trial, on a charge of manslaughter, of
Messrs. Davis and Powers, Building Commissioner Williams and the stage
manager, electricians and carpenters especially concerned in the
manipulation of the lights and curtains. On the Saturday night succeeding
the fire Mayor Harrison closed all the theaters in the city, numbering
thirty-seven, for a period of two weeks, or until a thorough investigation
could be made as to whether they were complying with the city ordinances
in every detail.
People with seat checks were turned away from the doors of the theaters.
Even the fireproof Auditorium was not permitted to remain open, and
Theodore Thomas and his musicians returned to their homes without playing.
Theatrical people in the dressing-rooms of the theaters took off their
makeup and left. Ushers turned out the lights and the managers locked the
doors. It was a condition without precedent in any large city of this or
any other country--every public place of theatrical amusement closed by
command, as the result of a great disaster.
And not only did the terrible calamity close every theater in Chicago, but
it sent the city authorities, fire inspectors, aldermen and all, scurrying
through the city, examining the big department stores and their means of
escape for their thousands of employees. The alarm and inspection also
extended to the public schools of the city. Nor was the awful upheaval
felt with startling force only at home, but like an earthquake its
vibrations reached distant cities and countries. The monarchs of Europe,
with the great public men of America, sent words of sympathy over the
throbbing wires, those which came from Emperor William being:
"NEUES PALAIS, Dec. 31.--To the President of the United States: Aghast at
the terrible news of the catastrophe that has befallen the citizens of
Chicago the empress and myself wish to convey to you how deeply we feel
for the American people who have been so cruelly visited in this week of
joy. Please convey expression of our sincerest sympathy to the city of
Chicago. Many thanks for your kind letter. In coming years may Providence
shield you and America from harm and such accidents.
"WILHELM I. R."
Within a few days there was abundant evidence that profound sympathy had
given place, in all the large cities of the world, to practical endeavors
to avert like calamities.
NEW YORK THEATERS AND SCHOOLS.
As his first official act, Nicholas J. Hayes, who on New Year's became
fire commissioner of New York, ordered an investigation of all the
theaters of that city. He declared that he intended to ascertain whether
the New York playhouses were so constructed and equipped as to safeguard
human life in case of fire or panic.
"The protection of human life is the first and most important duty of the
fire commissioner," said Mr. Hayes. "In this work no one shall hinder me
from doing my full duty."
In each battalion district where a theater was located the new fire
commissioner designated a competent assistant foreman as theater inspector
and provided for weekly inspection of theaters. These inspectors were
under the supervision of a general theater inspector. One of the tests at
once applied by Commissioner Hayes was to have the inspector pour gasoline
on the asbestos curtain and then apply fire. Several houses were at once
closed, as the curtains failed to stand the test.
City Superintendent of Schools Maxwell, of New York, also issued special
fire instructions to the district superintendents and principals of
schools, whom he directed to perfect fire drills and the rapid dismissal
of school children under their care.
CRUSADE IN PITTSBURG.
The Pittsburg department of public safety immediately began a crusade
against the violation of the ordinances regarding theater construction and
equipment. Managers were compelled to arrange their fire escapes, curtains
and apparatus so that everything worked with facility. At the Nixon
theater, at the close of a performance, the people were rapidly dismissed
after a fire alarm, and ushered out into the alley exits and down fire
escapes in two and one-half minutes. Other theaters were put through
similar drills.
WASHINGTON THEATER OWNERS ARRESTED.
Warrants were issued for the arrest of the proprietors of three of the
seven Washington theaters. Failure to comply with building regulations in
making improvements resulted in the withholding of the license of one
theater. The two other proprietors were arrested for failure to provide
proper exit lights, fire escapes and stage stairways.
MASSACHUSETTS THEATERS INVESTIGATED.
As a result of the fire Chief Rufus R. Wade, of the Massachusetts state
police, at once issued orders for his inspectors to make immediate and
thorough inspection of every theater in the commonwealth outside of
Boston. The statutes give no jurisdiction over Boston, but his orders
meant that more than 100 theaters under his supervision would receive
immediate attention.
The Chicago theater horror caused such a decreased attendance at Boston
theaters as to mean comparatively empty houses for some time afterward.
Huge areas of vacant seats were to be observed and the crowds at theater
exits at 10:45 were prominent for their absence.
ACTION IN MILWAUKEE.
Spurred to action by the theater horror in Chicago, the city officials of
Milwaukee, Wis., closed four theaters. The orders to darken the houses
followed an investigation by the chief of the fire department. In the
Academy and the Bijou, popular-priced houses, and in the two vaudeville
houses, the Star and the Crystal, the chief found the "fire" curtains were
made of thin canvas.
PRECAUTIONS AT ST. LOUIS.
In St. Louis the commissioner of public buildings and the chief of the
fire department served notice on theater managers that the provisions of
the city ordinances designed to prevent fire and panic must be rigidly
carried out. A new ordinance revising the building laws was at once laid
before the city council. One of its new features insists on a metal
skylight or fire vent over the stage. This vent must be so constructed as
to open instantly and automatically. Fire Chief Swingle sent notice to the
managers that all aisles must be kept cleared.
ORDERS AFFECTING OMAHA THEATERS.
Building Inspector Withnell ordered several radical changes in theaters
and large department stores as a result of the fire. All the theaters were
required to increase their exit facilities, and one theater was ordered to
put in additional aisles and remove 150 rear seats in the parquet circle
and balconies, which would interfere with a free exit in case of panic.
Asbestos curtains were ordered into use at all the theaters.
EFFECT ABROAD.
The news of the awful calamity shocked the great cities of Europe beyond
expression, and its discussion excluded even such large agitating
questions as the Eastern--possible war between Japan and Russia, which
might involve the entire Old World. The so-called American colonies of
London, Paris and Berlin were especially shocked, many members of whom
sought for news of friends and relatives who might be among the list of
dead or injured. As the complete list could not be cabled for several days
thereafter their suspense was, in many cases, unbearable, and scores took
the first steamers for America.
HORROR FELT IN LONDON.
Upon the receipt of the first news all local and foreign topics of
interest were forgotten in London in the universal horror over the
tragedy. The extra editions of the newspapers giving the latest details
were eagerly bought up and newspaper placards bore in flaring type the
announcement of further news from Chicago. The flags over the American
steamship offices were half-masted.
The accounts of the deadly panic were read by the English people with
peculiar sympathy and horror, for the pantomime season was at its height
and the London theaters were daily packed with women and children.
Yet certainly the first night after the news was generally known, which
was Thursday, no appreciable effect was felt on the attendance of most of
the London theaters. The usual number were waiting in line at the Drury
Lane box office early in the evening. The vaudeville had "house full"
boards prominently displayed. Still another playhouse in the Strand showed
only a slight falling off in attendance, but when the actual list of dead,
injured and missing was received by cable and posted in the newspaper
offices, hotels and other public places, there was a very marked decrease
in the number of theater goers. Later still came the detailed information
called for by the fire committee of the London county council, which
indicated that the Chicago theater offered better chances of escape than a
number of houses in the very heart of London. This was the first step
toward a thorough overhauling of the theaters of the world's metropolis.
LONDON THEATER PRECAUTIONS.
With the story of the horror upon the pale lips of all, there was at the
same time, in the minds of many of the theater goers of London, a feeling
that the regulations of the lord chamberlain and the London county council
reduced to a minimum the possibility of the occurrence of a similar
tragedy in their midst. Nevertheless theatrical men of experience agree
that, after all, the most elaborate precautions may be taken, and when the
crucial moment arrives they may prove of not the slightest value.
PRESENT RULES FOR LONDON THEATERS.
On the programme of every theater in London is printed the following
extract from rules made by the lord chamberlain:
"The name of the actual responsible manager of the theater must be printed
on every playbill. The public can leave the theater at the end of the
performance by all exit entrance doors, which must open outward.
"Where there is a fireproof screen to the proscenium opening it must be
lowered at least once during every performance, to insure it being in
proper working order.
"All gangways, passages and staircases must be kept free from chairs or
any other obstructions."
To guard against the possibility of a person in a moment of fright jumping
from a balcony, the London county council insists on a brass railing being
fixed on the tier in front of the upper circle.
CURTAIN OFTEN TESTED.
His Majesty's Theater is one of the largest and best equipped theaters in
London. The precautions taken there may be mentioned as representative of
what many London theater managers do to protect their patrons. A big iron
asbestos curtain is worked by a lever in the "prop" corner on the
prompter's side. The curtain is lowered just after the audience has been
seated, before the play begins, not only to test it, but to give the
audience confidence. Thursday night following the Iroquois fire Beerbohm
Tree, the proprietor, ordered the curtain to be lowered twice, the second
time after the first act, and this will be done in the future.
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.