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CHAPTER VII.
THE ORIGIN OF THE FIRE – THE ASBESTOS CURTAIN AND THE LIGHTS

The real story of the origin of the fire was told by William McMullen, assistant electrician. He said: "The spot light was completely extinguished at the time of the fire. I am positive of this, because I was working on it. Three feet above my head was the flood light. I noticed the curtain swaying directly above it and suddenly a spark shot up and it was ablaze in a second."

McMullen called the attention of his assistant to the flame.

"Put the fire out," he said.

"All right," said the other man, reaching down, using his hands to put out the small flame.

"Put it out! Put it out!" shouted McMullen.

"I am! I am!" said the other, clapping the flimsy stuff between his hands.

Some of the stage hands at this moment noticed the fire.

"Look at that fire!" these called out. "Can't you see that you're on fire up there! Put it out!"

"D – it, I am trying to," said the man who was clapping away at the burning paint impregnated muslin.

Then a flame a foot high shot up and caught the draperies above those on fire.

"Look at that other one. It's on fire," some one on the stage yelled.

"Put it out!" shouted another.

"All right," said the man on the perch. But he did not clap hard enough or fast enough, and in ten seconds the flames were beyond his reach.

It was after these hand clapping attempts to extinguish the fire had proved futile that McMullen shouted a call for the asbestos curtain to be put down.

"I did not see the curtain move."

ANOTHER ACCOUNT OF THE FIRE'S ORIGIN

W. H. Aldridge, who was employed to operate one of the so-called calcium lights, told how the fire started.

"I was about twenty feet above the lights which were being used, having left my place to watch the performance," he said. "While I was looking down on the performers I noticed a flash of light where the electric wires connect with the calcium light. The flash seemed to be about six inches long. As I looked a curtain swayed against the flame. In a moment the loose edges of the canvas were in a blaze, which rapidly ran up the edge of the canvas and across its upper end.

"A man named McNulty was in charge of the light. Whether he accidentally broke the wire and caused the flash I do not know. The light was about twenty feet from the floor. It consisted of a 'spot' light, used to follow the principal performer, and a 'flood' light, which was used to produce the moonlight effect."

WERE ELECTRIC LIGHTS TURNED OUT?

James B. Quinn, general manager of the Standard Meter company, who was present throughout the panic, said on this point: "Had the electrician who had charge of the switches for the foyer lights remained at his post long enough to have turned on the lights in the foyer there would not have been one-half the loss of life in the foyer and balcony stairs. When that awful darkness fell on the house the frenzied people did not know where to turn. They had not become fully acquainted with the turns because the theater was new. I was there and assisted in removing the dead and dying, and having been connected with lighting plants all my life I know what I am talking about. We did not have an electric light turned on for two hours after the fire. It was too late then. True, we had lanterns, but they were inadequate and would not have been needed had the electrician or his assistant done their duty. When the lights were turned on it was done by outside electricians."

STATEMENT OF MESSRS. DAVIS AND POWERS, MANAGERS OF THE THEATER

When the fire broke out Manager Will J. Davis of the Iroquois was attending a funeral. A telephone message was quietly whispered to him and, after hesitating a moment, Davis unostentatiously slipped on his overcoat and left the place.

Mr. Davis and Harry J. Powers later stated as follows:

"So far as we have been able to ascertain the cause or causes of the most unfortunate accident of the fire in the Iroquois, it appears that one of the scenic draperies was noticed to have ignited from some cause. It was detected before it had reached an appreciable flame, and the city fireman who is detailed and constantly on duty when the theater is open noticed it simultaneously with the electrician.

"The fireman, who was only a few feet away, immediately pulled a tube of kilfire, of which there were many hung about the stage, and threw the contents upon the blaze, which would have been more than enough, if the kilfire had been effective, to have extinguished the flame at once; but for some cause inherent in the tube of kilfire it had no effect. The fireman and electrician then ordered down the asbestos curtain, and the fireman threw the contents of another tube of kilfire upon the flame, with no better result.

"The commotion thus caused excited the alarm of the audience, which immediately started for the exits, of which there are twenty-five of unusual width, all opening out, and ready to the hand of any one reaching them. The draft thus caused, it is believed, before the curtain could be entirely lowered, produced a bellying of the asbestos curtain, causing a pressure on the guides against the solid brick wall of the proscenium, thus stopping its descent.

"Every effort was made by those on the stage to pull it down, but the draft was so great, it seems, that the pressure against the proscenium wall and the friction caused thereby was so strong that they could not be overcome. The audience became panic-stricken in their efforts to reach the exits and tripped and fell over each other and blocked the way.

"The audience was promptly admonished and importuned by persons employed on the stage and in the auditorium to be calm and avoid any rush; that the exits and facilities for emptying the theater were ample to enable them all to get out without confusion.

"No expense or precaution was omitted to make the theater as fireproof as it could be made, there being nothing combustible in the construction of the house except the trimmings and furnishings of the stage and auditorium. In the building of the theater we sacrificed more space to aisles and exits than any theater in America."

FIRST RELIABLE STATEMENT AS TO WHY THE CURTAIN DID NOT COME DOWN

The man who gave the first reliable explanation of the failure of the "asbestos" curtain to operate properly was John C. Massoney, a carpenter, who was working as a scene shifter.

"The reflector was constructed of galvanized iron or some similar material, with a concave surface covered with quicksilver about two feet in width," he said.

"The reflector was twenty feet long and was set on end. The inner edge was attached to the stage side of the jamb of the proscenium walls with hinges. Along the inner edge, next the hinges, was a row of incandescent electric lamps.

"When the reflector was not in use it was set back in a niche in the proscenium wall, and the curtain, when lowered, passed over it. When used it was swung around to the desired position, and projected from the wall. When the reflector was in use it prevented the curtain being lowered."

"I have not ascertained whether the reflector was in use. The one on the south side of the stage was not, and from this I infer that the one on the north was not being used. If it was not in use, then somebody must have been careless."

Massoney said he was on the south side of the stage when the fire started.

"I did not see the fire start, but I saw it soon after it began," he said. "The fire was in the arch drapery curtain, which is the fourth curtain back of the 'asbestos' curtain. I saw the 'asbestos' curtain coming down soon after, but I noticed that the south end was very much lower than the north end. The south end was within four or five feet of the stage floor, while the north end was much higher.

"I ran round to the north side and up the stairs to the north bridge. I found the north end of the curtain was resting on the reflector. I tried to reach the curtain to push it off the reflector, but could just touch it. I could not get hold of it. I am 5 feet 11 inches tall, and I can reach a foot above my head at least, so I figure that the north end of the curtain was nineteen or twenty feet from the floor.

"When I first reached the bridge sparks were flying in one little place near me, but before I got down I saw a great sheet of circular flame going out under the curtain into the audience room. I stayed on the bridge as long as I could trying to move the curtain. I half fell down the stairs of the bridge and got out as fast as I could."

"Why didn't you call some one to help you?"

"There was no one on the bridge when I got there and no one on duty, that I could see, on the north side of the stage."

"Was the reflector in use?"

"I do not know."

"Whose duty was it to look after the reflector?"

"I do not know."

"Did the curtain blow to pieces?"

"It seemed all right. There was no hole in it that I saw."

ANOTHER STORY AS TO WHY THE CURTAIN DID NOT LOWER

Joe Dougherty, the man who attempted to lower the asbestos curtain, says that the reason it stuck and would not come down was that it stuck on the arc spot light in the first entrance near the top of the proscenium arch. He was the last man to leave the fly loft and at the time he attempted to lower the asbestos curtain he was twenty feet or more above it, so that when it caught on the arc spot light he was unable to extricate it. The opening of the big double doors at the rear of the stage, he says, caused such a draft that the curtain could not be raised again to free it from the obstruction.

Dougherty denies that the wire used by the flying ballet had anything to do with the obstruction of the curtain. The regular curtain was within a few inches of the asbestos sheet and had been operated a few minutes before the fire occurred. If one curtain worked the other would if the flying ballet rigging was not in the way.

THE THEATER FIREMAN'S NARRATIVE

W. C. Saller was the fireman employed by the theater managers to look after fire protection. He was formerly connected with the city fire department.

"I was on the floor of the stage about twenty feet from the light," he said. "The base of the light was on a bridge fifteen feet from the floor. The light was about five feet high and was within a foot and a half or two feet of the edge of the proscenium arch and close to the curtains. I saw the flame running up the edge of the curtain and ran to the bridge. I threw kilfire on the burning curtain but saw it did not stop the blaze and yelled to those below to lower the asbestos curtain. When the curtain was within fifteen feet of the stage floor the draft caused it to bulge out and stick fast. It was impossible to lower the curtain further, and after that nothing could be done to stop the fire.

"In my opinion the draft was caused by the doors opening off the stage into the alley and Dearborn street. There were no explosions except the blowing out of fuses in the electric lighting system."

Saller was severely burned about the hands and face.

THE STAGE CARPENTER

Edward Cummings, stage carpenter, and his son, R. N. Cummings, his assistant, of 1116 California avenue, testified that the fire started in the curtains at the south end of the stage. Both asserted that the draft or suction caused the asbestos curtain to stick. They said the fire spread with remarkable rapidity among the curtains, which were about two feet apart, and when the asbestos curtain stopped they said that no human agency could have prevented the disaster that followed.

THE CHIEF ELECTRICAL INSPECTOR'S TALE

Chief Electrical Inspector H. H. Hornsby of the city electrician's department declared the electric wires in the theater were in the best condition of any building in Chicago.

"The wire leading to the calcium arc light might have been broken or detached," he said. "It requires no volts of electricity to operate one of those lights. The man operating the light may have got his legs or arms entangled in the wires and broken one of them at the point of connection or he may have pulled the light too far and broken or detached the wire. The arc created would have produced intense heat and readily ignited the inflammable curtain. If the light had not been set so close to the scenery the curtain could not have blown into the arc.

"While the theater was being wired Inspector B. H. Tousley made twenty-five or thirty inspections. Though the ordinance requires only such wires as are concealed to be placed in iron conduits, in the Iroquois all wires were put in iron tubes. The switchboard was of marble, with the connecting wires behind it in iron conduits. The management seemed desirous of making the electric system the best possible and adopted every suggestion we offered to improve its safety. I am satisfied there was not a better job in Chicago. I do not believe it could have been made safer.

"It is impossible to guard against a wire being broken. The wire leading from the switchboard could not be inclosed in an iron conduit. It had to be flexible to permit the light being moved around. The arc light was encased in a closed box to prevent sparks falling on the floor or being blown into the scenery. All the fusible plugs were in cartridges to prevent sparks from falling if the plugs burned out. Every precaution we could think of was taken to make the system absolutely safe."

ONE OF THE COMEDIANS SPEAKS

Herbert Cawthorn, the Irish comedian, who took the part of Pat Shaw in "Mr. Bluebeard," assisted many of the chorus girls from the stage exits in the panic. After being driven from the building he made two attempts to enter his dressing room, but was driven back by the firemen, who feared lest he be overcome by the dense smoke.

With several others of the leading actors in the play Mr. Cawthorn took refuge in a store on Dearborn street after the fire. He was still in his abbreviated stage costume and was suffering considerably from the cold.

He gave a graphic description of the origin of the fire and of the panic among the stage hands and actors. He described the scene as follows:

"I was in a position to see the origin of the fire plainly, and I feel positive that it was an electric calcium light that started the fire. The calcium lights were being used to illuminate the stage in the latter part of the second act, when the song, 'In the Pale Moonlight,' was being sung.

"I was standing behind a wing on the lefthand side, which would be the righthand side to the audience, when my attention was attracted above by a peculiar sputtering of what seemed to me to be one of the calciums. It appears to me that one of the calciums had flared up and the sparks ignited the lint on the curtain. Instantly I turned my attention toward the stage and saw that many of the actors and actresses had not yet discovered the blaze.

"Just then the fireman who is kept behind the scenes rushed up with some kind of a patent fire extinguisher. Instead of the stream from the apparatus striking the flames it went almost in the opposite direction. While the stage fireman was working the flames suddenly swooped down and out. Eddie Foy shouted something about the asbestos curtain, and the firemen attempted to use it and the stage hands ran to his assistance.

"The asbestos curtain refused to work, and the stage hands and players began to hurry from the theater. There was at least 500 people behind the scenes when the fire started. I assisted many of the chorus girls to get out, and some of them were only partly attired. Two of the young women in particular were naked from their waists up. They had absolutely no time to even snatch a bit of clothing to throw over their shoulders."

ABOUT THE LIGHTS

A dozen different stories from a dozen different people were told about the extinguishment of the electric lights. Assistant City Electrician Hyland, who was the acting head of the city's department during the absence of City Electrician Ellicott, stated:

"The switchboard controlling the electric lighting apparatus is located under the place where the fire started at the left side of the stage. It was made of metal and marble and practically indestructible. The wires were led into the switchboard through iron tubes, and those tubes and wires are there yet. I visited the theater after the fire and turned on five sets of lights. Those five were in working order, but I think they controlled the lights into the foyer and halls. The lights in the theater were burned out. That I know, because when I paid my first visit to the switchboard I found the switch affecting the lights in the auditorium turned on. The terrific heat in the theater when the fire was sweeping across it must have burst the glass bulbs and may have melted the wires leading into the lights in the auditorium. How many minutes it took to explode these incandescent lights and melt the wires running to them depends entirely upon the length of time it took the theater to turn into a furnace.

"I have been told that a moonlight scene was on the stage just before the fire broke out. In such a scene it would be customary to turn off most if not all of the lights in the auditorium, so as to darken the place where the audience was and concentrate upon the stage what little light was used. Yet, the way I found the switchboard, with the circuit leading to the auditorium turned on, the knob melted off and the condition of the board showing that it could not have been tampered with since the fire, convinces me that the lights must have been on when the fire broke out, or else they were turned on after the first flames were discovered. It is hard to discover the facts even from people who were in the theater at the time it was burned. Almost every one tells a different story."

CHAPTER VIII.
SUGGESTIONS OF ARCHITECTS AND OTHER EXPERTS AS TO AVOIDING LIKE CALAMITIES

Robert S. Lindstrom, a well known Chicago architect, makes the following suggestions: "It is earnestly requested that the following suggestions be published for the benefit and warning of patrons of public places, also as an aid to city officials, architects and builders, as a possible means of averting another horror such as has been witnessed in the Iroquois theater fire.

"Every theater in Chicago is virtually a death trap set for patrons even under ordinary conditions. Barring fires and panics, the playhouses are not amply provided with exits, and are unsafe on account of overcrowding. Thereby each person attending a performance in any of Chicago's theaters does so at a risk of his own life. This also applies to all halls that are hurriedly arranged for public meetings and especially during the election campaign work and convention gatherings.

"A theater may be absolutely fire-proof, but when the seating capacity of the house has been overcrowded by reducing sizes of stairs, aisles and exits the building is really worse than a non-fire-proof building, for in the latter the smoke would have a chance to escape.

"The following suggestions will partially avert such a horror as has been witnessed at the Iroquois, which was advertised as the safest fire-proof theater in Chicago:

"All seats throughout the house should be placed far enough apart from back to back so that an open passageway running from aisle to aisle shall be large enough to allow a person to get out without disturbing all the people seated in the section. In the Iroquois the seats in the gallery are so closely spaced from back to back that one cannot sit in a comfortable position at any time. All seats should be made of iron framework, with seats fixed so that danger of catching clothing on upturned edges may be averted, which in the present theater seats causes very much delay in a rush. The upholstering should be done with asbestos wool and all covering done with asbestos fire-resisting cloth.

"An aisle should be left between the orchestra and the front row of seats. Main aisles should be made so that they connect with the aisle in front, also the aisle in rear, without any obstructions, and an exit door placed at end of each aisle leading directly to the vestibule. The present system is one large door at the center so that people from the side aisles collide with those from the center aisles and no one can get out. It is also very important that the door opening, with doors open, is a trifle larger than the aisle; all seats that face on aisles to be plain to prevent clothing from catching on same.

"Carpets should be prohibited in all halls and aisles and replaced by interlocking rubber tile or some similar covering to prevent slipping in a rush.

"All steps should have safety treads, composed of steel and lead, in place of slate or marble, which becomes slippery and dangerous. Stairs to be straight without winds or turns and at every ten feet from the sidewalk there should be a landing twice as long as the width of the stairs and doors at the foot of the stairs should be a trifle larger than the stair opening.

"All balconies and galleries above the first floor should have a metal hand rail back of each row of seats securely fastened to the floor construction.

"Doors should swing out; in addition to door handle threshold to have an automatic opening device so as to throw doors open in case of fire or accident. Also at each fire exit there should be in view of the audience a box containing saw and tools and plainly marked for use in case of fire, providing locks on doors fail to work. In addition an attendant should be placed at each fire exit and remain there until the house is vacated during every performance.

"Fire escapes should be made of regular stair pattern with treads eleven inches and rises seven inches, and treads provided with steel and lead composition covering and risers closed.

"Instead of sloping the ceiling toward the stage it should be made level with a cone shape toward the center and there connect with a down draft ventilator and an emergency damper controlled by a three-way switch from stage, box office and each balcony, made large enough to form a smoke flue in case of fire. Wires controlling this ventilator should run in conduit fireproofed and in addition to switch an electric emergency switch weighted with a fused link to make a contact when link breaks. Same to apply to stage, halls and stairways, except that fireproof ducts will connect halls and stairs with outer air. In addition to the ventilator every part of the house should be equipped with a system of sprinklers operated automatically by a gravity system. A large glass chandelier such as used at the Iroquois should be prohibited.

"Emergency lights in case of fire and accidents during the performance to light up the house should be placed on ceiling of main auditorium, balconies, halls and stairs and built of fire-proof boxes with wired plate-glass face. These lights should be operated on a separate system and run in fireproof conduits, and controlled from the street front, also to have a fusible weighted switch on stage.

"Fire doors should be constructed of steel with wired plate-glass panels so that fire can be prevented from outside sources, but if in case of accident the lock should fail to work from the inside, the glass panel can be broken with tools that should be placed in reach and plainly marked.

"Calcium lights should be prohibited anywhere in the auditorium. The place is generally on the gallery. In the Iroquois the scenic lights were placed at the extreme top of the upper gallery, with a supporting framework that rested on the aisle floor and obstructed aisle to audience.

"Counter-weights of curtain should be made in sections with fusible link connections so that in case of fire curtain will drop of its own weight.

"Curtain should be constructed of steel framework and made rigid and run in steel guides of sufficient size to allow for expansion in case of fire. Stage floor should be four inches thick, solid, laid on concrete bed.

"A special waiting room with a special exit, entrance to same to be from main foyer, should be used especially for patrons using carriages so as to prevent the present system of blocking exits and vestibule with people waiting for carriages and preventing exit of crowd.

"On stage of every theater there should be a fire plug, also a hose long enough to reach any part of the house, to run on a reel.

"A loss of life in a panic cannot be entirely prevented, but some of the above suggestions if carried out will, at least, prevent a wholesale loss of human life.

"All theaters should be thoroughly investigated and where the slightest detail is found to conflict with the law and the safety of an audience the city officials should prevent the use of such house until it has been properly constructed."

THE ARCHITECT SPEAKS

Benjamin H. Marshall, architect of the theater, received the news of the disaster in Pittsburg, Pa., and at once started for Chicago. He was stunned by the intelligence, and, speaking of it, said:

"This seems to be a calamity that has no precedent, and I can not understand how so many people were caught in the balconies unless they were stunned by the shock of an explosion. There were ample fire exits and they were available. The house could have been emptied in less than five minutes if they were all utilized. The fact that so many people were caught in the balconies would prove that they were stunned and panic-stricken by the report rather than by the fear of a fire. It is difficult for me at this time to even guess as to the cause for the great loss of life.

"I am completely upset by this disaster, more so because I have built many theaters and have studied every playhouse disaster in history to avoid errors."

EXAMINATION BY ARCHITECTURAL EDITOR

Robert Craik McLean, editor of the Inland Architect, who spent some time investigating the claim that the theater was equipped with an asbestos fire curtain, said: "After a careful investigation, I am convinced that the theater was not equipped with a curtain such as is demanded by the city ordinances.

"I visited the damaged theater, but there was no sign of an asbestos curtain. Fire will not destroy asbestos, and if there was a curtain there when the holocaust occurred it had been removed, and an investigation should be made to learn what became of it. If no curtain had been removed, as is claimed, I cannot understand how the claim can be set up that the theater had a fire curtain. No one denies that there was a curtain there, but had it been made of asbestos, as required by the ordinance, it would not have been destroyed by the draft of air, as is claimed by the management of the house. An asbestos curtain must have a foundation of wire or some other material, and had the Iroquois been equipped with such a drop the wire screen, at least, would be there to prove it."

"Mr. Samuel Frankenstein of the Frankenstein Calcium Light company, made the statement to me that he had had a conversation with the stage manager of the Iroquois regarding the fire drop. Mr. Frankenstein said that the stage manager told him that the Iroquois stage was not equipped with a true fire curtain. According to Mr. Frankenstein, the stage manager went further than this, and declared that there were only three theaters in Chicago equipped with real asbestos drops."

PROPOSED PRECAUTIONS FOR NEW YORK THEATERS

Charles H. Israels of the firm of Israels & Harder, architects of the new Hudson theater, and several of the large hotels, suggested a number of precautions which might be adopted in New York theaters. Among other things he advocated an ordinance requiring all the theater emergency exits to be used after each performance.

"Nearly every modern theater in this city," Mr. Israels said, "is adequately provided with exits, with which the audience are not familiar, and which are used so seldom that the employes are unused to having the audience pass out through them. Besides the one exit ordinarily in use there are four emergency exits, and the law requires them to open either on a brick enclosed alley at the side of the theater or directly into the street.

"The people in the gallery, who are in the place of the greatest danger, would undoubtedly become thoroughly accustomed to using these outside stairways.

"The main advantage to be gained by this suggestion over all others is that it could be put into immediate operation without the spending of a single cent on the part of the owners of most of New York's playhouses.

"In a few of the theaters it might be argued that the stairways at the emergency exits were not sufficiently inclosed to allow the crowds to pass down in safety. The law now requires the stairways to be covered at the top, and covering the outside rail with heavy wire mesh raised about two feet above its present level would prevent any one from falling over the side.

"Fireproof scenery or scenery which will at least not flame, is a practical possibility now. The building code should compel the use of scenery on frames of light metal covered with canvas that has been saturated in a fireproof solution. Fireproof paint is compulsory on the woodwork behind the proscenium wall, but in painting scenery combustible paint may be used.

"The law should be most strictly enforced as to the cleaning out of rubbish beneath the stage. In a number of the theaters of New York this is done only occasionally."