MRS ARTHUR BERGCH,4926 CHAMPLAIN AVENUE. CHICAGO.
ARTHUR J. BERGCH, 11 YEARS OLD. CHICAGO.
ARTHUR E. HULL,244 OAKWOOD BOULEVARD, CHICAGO.
THOMAS D. KNIGHT, CHICAGO.
DONALD D. AND DWIGHT M. HULL,244 OAKWOOD BOULEVARD, CHICAGO.
HELEN MURIEL HULL, 12 YEARS OLD CHICAGO
WILL J. DAVIS,One of the Theater Managers Arrested for Manslaughter.
A UNIVERSITY STUDENT'S STORY.
Equally damaging testimony was given by Fred H. Rea, 3231 South Park avenue, a student at the Northwestern University Dental School. After telling of the scenes when "death alley" was bridged by planks and ladders thrust from the school windows he told of the death jam on the fire escapes.
Rea's story was one of the most graphic told which narrated the horrors of Death's Alley, and the narrow escape of those who were fortunate enough to be rushed over the planks thrown to them from the University building. It was not only a story, but an additional evidence of the total lack of preparation for the meeting of just such an emergency.
"At the time the fire broke out I was in the Northwestern University building on the third floor in the law school," he said. "I heard something that sounded like an explosion and all the students present immediately ran to the lecture room. There we met some painters who were repairing the ceiling in the corridor. They joined us, bringing with them three planks and ladders. These planks we placed from the back window of the lecture room across to the upper landing of the gallery. One ladder was placed across from the fire escape of the lecture room to the second landing. Across the ladder, I think, only one person came, as the flames from the exit were so hot that nobody could reach it.
"Fourteen or fifteen persons came across the plank, and all but three or four were badly burned. I saw at least three persons try to pass down the fire escape from the top landing, but they were unable to do so, because at the second landing from the top the doors were not swung clear back against the wall. The doors were at right angles to the wall, and through the exit smoke was pouring and part of the time flames. Severalpeople on the upper landing deliberately climbed over the railing and dropped to the alley below.
"I saw one woman drop and strike a ladder which was placed to the fire escape and bound off into the alley. A man climbed out over and was clinging by his hands, when one of the firemen came up from below and held him until a ladder could be run up. A number of people who fell in the jam on the exit burned right there before our eyes. We could see their clothes on fire. That was on the landing of the fire escape, partly in and partly out of the exit."
A CLERGYMAN'S STORY.
The Rev. Albertus Perry, 5940 Princeton avenue, Chicago, was passing the theater when the panic started. He ran into the vestibule and thence into the foyer, where he saw men breaking open the doors. He remained but a short time, and left, overcome by the terrible sight.
"The great marble hall was filled with madmen and hysterical women fleeing for life," he declared. "The doors, of which there appeared to be several sets, were locked against them with the exception of the center door of each set. Men were beating against the steel and glass barriers and women crowded with the desperation of death stamped upon their faces. Smoke was puffing out, filling the beautiful foyer and telling in awful eloquence of the triumph of death further in. I could do nothing to relieve the situation for there was nothing within the power of mortal man to do to stop the horror. So I left, overcome by the terrible sight that had met my eyes."
THE FLY MAN'S STORY.
Charles Sweeney, 186 North Morgan street, Chicago, "fly man" on first flying gallery, nearest point where the fire started:
"In the second act, in the 'Pale Moonlight' scene, I wassitting on a bench, and there were two or three more of the boys. About ten feet from the front of the fly gallery I saw a bright light. The other boys saw it, I guess, at the same time and we ran over there. I saw a small blaze on one of the borders. I don't know exactly which one. I hallooed across the stage to Joe Dougherty. He was the man taking Seymour's place. Seymour was sick. I said, 'Down with the asbestos curtain.' Smithey and I got tarpaulins and we slapped the flame with them. We did the best we could and then it got out of our reach. It went right along the border toward the center. Then it burned and one end of it fell down, bent like. Then it blazed all over and I saw there was no possibility of doing anything. I ran upstairs to the sixth floor and hallooed to the girls. I led them down in front of me, and I kept telling them to be careful and not to have a stampede or anything of that kind, and then I came down and went outside the building."
SCHOOL TEACHER'S THRILLING EXPERIENCE.
Alice Kilroy, 67 Oregon avenue, Chicago, a Chicago school teacher:
"During the performance I stood in the upper balcony, right near the alley; a few feet from the top exit south, about the third or fourth seat from the end. I stood right back of that. When the fire first began we thought it was part of the performance and my sister said to me, very calmly, 'Even if there is no fire, let us go out in the exit.' We knew this was an exit because we had seen it opened. An usher had been out and we stepped out there.
"As soon as we stepped out the heat was intense and we saw we could not go down the steps, so we stood there on the platform of the fire escape. I tried to get in the theater again, but the people were rushing out and I could not go against themob. I saw that the mob was trying to get out of the exit, and so I had to stand right where I was. We stood there it seemed to me, about six minutes, and we knew we were burning, and there wasn't anything to do but to stay there. We couldn't go any other place. After a few minutes some water fell on us. I did not see very much because I held a collarette up to my face to protect it from the hot air, which was unutterably awful. When the water came that kind of refreshed us and dampened the fire so we could stand up for a few minutes longer, and then a plank was put from the opposite building and we went over the plank and escaped to the Northwestern University building. The crowd behind us that had been fighting and pushing so hard seemed to die away and collapse all in an instant. The scrambling and pushing ceased. This crowd was at the entrance to the door. Something happened to them and they did not have any life, because they did not push when I turned back. When I first started to go in—when I turned back—there was lots of life, then I turned and faced them, the mob going out, because it was so hot out there I thought I could go back in the theater. Part of them fell on the floor and part outside on the fire escape platform. I think I was the last to escape alive over the planks across the alley. I was terribly burned; you can see by the bandages that I don't dare to take off yet."
GLEN VIEW MAN'S EXPERIENCE.
Walter Flentye, Glen View:
"I occupied seat 7 in section R, handy to the entrance. I think it was about half-past 3, while that octet was singing there in the pale moonlight, that I just noticed a kind of a hesitation on the part of the octet, and pretty soon I saw a few sparks begin to come down about the size of those from aroman candle. They were coming down from the upper left hand corner of the stage, and pretty soon the fire began to grow more and more, and I should say that pieces of burning rags dropped down of different sizes. About that time Eddie Foy came out and tried to calm the audience. I don't just exactly remember what he said, and I kept my seat. I had no idea that there was to be anything of that kind; that the fire was to be as large as it was, and the audience down below were going out. I had a friend beside me that left. I don't remember just what I said to him. He said he was going and he went out and a little later I got up, and, without any trouble, went through the door, and I went immediately to the check room. I had checked a valise and umbrella, and at that time I had no idea of any such a fire as that. So I thought I had plenty of time and I took my valise and umbrella and set them on a settee to the left of the foyer and put on my overcoat and hat.
"When I first came out I noticed that there were a lot of women that were almost frenzied by the excitement and they were around toward the entrance, and I noticed one man carrying a woman. That was while I was going to the checkroom, and after I had put on my coat I looked and there were two women and a man that went to the door to look in, and I kind of thought the woman might rush in, so I said, 'Don't go back, it is too late now.' And they all turned around and I looked once more and by that time it looked as though there was a mass of fire belched out, and I remember seeing it catch the front seats, and after I went out and walked across the street and I talked to a policeman who stood in front of Vaughn's store and by that time about eight or ten policemen came along from down Randolph street, and shortly after the firemen came. Then for the first time I realized what a terriblething I had escaped and the true horror of the situation unfolded itself."
THE LIGHT OPERATOR.
William Wertz, 12024 Union avenue, West Pullman, Ill.:
"I was operating a light on the rear part of the stage on the afternoon of the fire. I noticed that the actors, eight boys, were looking up toward the right hand of their places, and as soon as they did that I stepped back one or two feet, still holding my lamp in sight so as to attend to it should it go down. I looked toward the place that the people had gazed and I noticed a small blaze there upon a little platform used for throwing a light on the front of the stage. As I looked there I saw the fireman of the house, who was back on the stage, running forward hallooing, 'Lower down the curtain!' and climb up to the little platform. He had either taken a tube of kilfyre in his hand or there was one up there, as I very distinctly saw him sprinkle it on the fire. Then the man took his hands and tried to tear down the blazing pieces of scenery.
"Then I saw one drop after another go into the flame. I saw a lot of people running up to that point of the fire, others from the balcony dressing rooms come running down, and on the side of me, or close to the door were several girls becoming hysterical, excited. That was at the stage door opening onto a little bridge-like platform leading to Dearborn street. I went up to the girls and said, 'Come on, girls, get out of here as soon as possible.' I took one by the arm and put her out.
"When I came out there the girls started to run forward, and I went in again, because I was in my shirt sleeves and I wanted to take my coat and save what goods I had. As soon as I entered the stage again I heard a lot of noise and crying and calling and I went forward to that point and succeededin pulling some more of the young ladies out. Then when I got on the little bridge leading from the stage to Dearborn street, I noticed that the whole scenery was in a blaze, that it was falling down and I tried to get in again, but through the enormous heat, and I believe that the city fire people just had arrived there with the hose and pulled me back so I couldn't get in there any more.
"I know there was an asbestos curtain in the theater and that it was used. During the time I have been connected with different theaters through the country I have always looked up to the curtains, and often put my hands on them. What was called by employees in the house the asbestos curtain, and also in several theaters in Chicago, has written on it, 'asbestos curtain.' When I entered this house on several occasions before the show I saw this particular curtain hanging there, a dirty white color, and on one or two occasions, in passing by, I pushed my hand against it and it felt to me exactly like other curtains hanging in Chicago, and on which 'asbestos' is written. One, for instance, in the Grand opera house, has written on it 'asbestos,' and is the same color in the back and has the same feeling when you put your hands on it as this one in the Iroquois theater.
"It was that curtain Sallers, the house fireman, was shouting for when I heard him. The fireman said, 'Down with that curtain,' and the other voice, which I thought was Mr. Carleton's, the stage manager, said, 'For God's sake lower that curtain.' Several other voices hallooed out, 'What is the matter with the curtain? Down with the curtain.' But it didn't fall and the holocaust followed."
THE JAMMED THEATER.
The unlawful and deadly crowded condition of the theater at the time of the fire was emphasized by the testimony of Rupert D. Laughlin, 1505 Wrightwood avenue, who, although he reached the theater before the curtain went up, found the spaces behind the seats crowded and people sitting on the steps in the aisles. Laughlin and Miss Lucy Lucas, his niece, had seats in the second balcony, or gallery.
"We went into the theater about ten minutes before the orchestra come out and had some difficulty in getting into our seats," he said, "on account of the people standing in the aisles and at the back. The people were sitting on the steps.
"The steps were very steep and people occupied them quite a way down. They had to rise and stand aside to let us make our way to our seats. There was a man and a woman sitting on the step right beside our seats. At the end of the first act I went out to the foyer. I had considerable difficulty getting out. There was a great deal larger crowd in the aisles and sitting on the steps than there was when we came down first. They were strung along the aisle and there were a great many women on the steps. I went out and walked around for a while and then came back and took my seat. I had to make the women get up as I was coming down the aisle again.
"When the fire started I went right to the first exit and out on the fire escape platform. When I got to the door there were flames and a great deal of smoke coming out from a window that was near there, and we couldn't go out at that time, so we waited for a few seconds, and the fire died down. Then we went down the fire escape to the alley.
"Many other people escaped by the same means before us—at least I should judge there was, because we saw a number of hats and furs and things of that sort on the steps. There wasn'tanybody coming down in back or in front of us while we were going down."
GAS EXPLOSION HOURS BEFORE THE FIRE.
That the explosion of a gas tank came near destroying the Iroquois theater a few hours previous to the performance on the opening night, about a month before, was testified to by John Bickles, 6711 Rhodes avenue. According to Bickles, a gas tank under the stage exploded with such force that flames shot over an eight-foot partition. It was only after a hard fight on the part of employes of the theater and the fact that there was little inflammable material near the fire that the flames were subdued. Bickles stated that he did not know what sort of a gas tank exploded, as he did not inquire of the other employees. At the time he was standing in a room opposite the one in which the gas tank exploded.
"The flames leaped over an eight-foot partition, but did not burn me," said Bickles. "I went on to the stage soon after the explosion and the next day was discharged by the George A. Fuller company, builders of the theater, by whom I was employed as a carpenter. There was no work was the reason. There were a number of actresses and sewing women in the theater at the time of the explosion. The first performance was to be given that evening and everybody was making ready. I was the person who fixed the wall plates for the skylights, but I never saw them after they were finished."
From Bickles' testimony it seemed the George A. Fuller company had kept a number of its men in the theater after it was occupied by the Iroquois Theater company. They were completing unfinished details. The fact of the fire, he said, was hushed up.
PANIC AMONG THEATER EMPLOYEES.
Gilbert McLean, a scene shifter, at work on the stage when the fire started, told of the failure of the fire extinguisher to put out the blaze, and declared that the failure of the fire curtain to drop was due to a misunderstanding among the men in the flies who were supposed to operate it. Then men appeared not to know what was wanted and lost priceless time hesitating. McLean's story would indicate that the stage employees ran away long before the audience knew that there was danger. Speaking of the efforts of the stage fireman to put out the blaze soon after it started in the grand drapery, McLean said:
"If the extinguisher had been effective he could not have reached the fire at that time, though the part he did reach did not seem to be affected at all. Then there was a commotion, everybody was running back and forth, and I yelled as loud as I could to send the curtain. I saw the men did not understand the signal; they were signaling from the first entrance then by a bell. I could hear the bell ringing and I could see the fly men, as they called them, and saw they didn't understand. I yelled as loud as I could and they did not seem to understand me or to know why the curtain should be sent at that time, as it was not the regular time for the curtain.
"Well, the fire kept making headway towards the back of the stage. It spread rapidly right straight back. There seemed to have been a draft from the front of the theater. The show people started to go out fast, coming from the basement and from the stage and leaving the stage by the regular stage entrance. Somebody hallooed, 'She is gone. Everybody run for your lives.' I went towards the rear door then and made my way out as best I could.
"There had never been any fire drill on the stage so far as I know and I never heard any fire instructions. Many wereout before I left and I guess all the stage people got out some way or another. It was every man for himself then."
AN EX-USHER'S WORDS.
Willard Sayles, 382 North avenue, Chicago: "I was formerly an usher at the Iroquois theater. During my period of employment the fire escape exits at the alley side of the house were always kept locked. There was one exception. The opening night Mr. Dusenberry, the head usher, had me open the inner set, the wooden doors that concealed the big outside iron ones. The people on the aisle were complaining that it was too warm. He gave orders to the director and myself to open the wooden inner doors to the auditorium. Later on Mr. Davis came up and told me to close them and not to open them unless I got instructions from him. That was the only time I got instructions from either one of them. We had not got instructions as to what doors we were to attend to in case of fire. The only time we got instructions was the Sunday before the house opened; Mr. Dusenberry called us all down there and told us to get familiar with the house. There was no fire drill or anything of that kind."
IRON GATES, DEATH'S ALLY.
That two iron gates, securely padlocked, across stairways in the Randolph street entrance, held scores of women and children as prisoners of death at the Iroquois theater fire horror, was the startling evidence secured on Saturday, Jan. 9, ten days after the holocaust by Fire Department Attorney Monroe Fulkerson.
In a statement under oath George M. Dusenberry, superintendent of the auditorium of the playhouse, admitted that these gates had remained locked against the frantic crowds through all the terrible rush to escape. Against these, bodies were piled high in death of those who might have gained the open air had they not been penned in by the immovable bars.
Not until the sworn statement had been secured from Dusenberry were the investigators brought to a full realization of the horrors of the imprisoned victims.
These deadly iron gates, four to five feet high, according to Dusenberry's testimony, were quietly removed after the fire. One of the gates was at the landing of the dress circle. The other was on the stairway which led from the dress circle entrance to the landing above. At the Randolph street entrance were two grand staircases. Passage down one of these staircases was shut off completely by the iron gates.
According to Dusenberry, the gates were locked with a padlock, requiring a key to open them. It was the custom to open these gates after the intermission at the close of the second act,so as to give the people an unobstructed passageway for leaving the house at the close of the play.
The exact condition made by the locked gates and the extent to which they contributed to the immense loss of life may be realized by Dusenberry's sworn testimony in detail on this point.
DUSENBERRY'S TESTIMONY.
It was as follows:
Q. Do you recall an inspection which I made of the stairway of the second floor of that theater the next day after the fire? A. Yes, sir.
Q. And showed you two iron gates that folded up like an accordion? A. Yes, sir.
Q. Please state whether or not these two gates were locked at the time of the fire. A. Yes, sir.
Q. State where the lower one was located. A. At the landing of the dress circle.
Q. And do I understand that one side of it was solidly hinged with an iron rod and that the other side of the gate was fastened by a chain locked by a padlock? A. A small lock.
Q. The lock required a key to open it? A. Yes, sir; a small key.
Q. How high was this gate? A. I should think four or five feet.
Q. And was I correct in saying it folded up like an accordion when not in use? A. Yes, sir.
Q. Where was the other one located? A. On the stairway which led from the dress circle entrance up to the landing above.
Q. And was it secured and locked in the same manner as the other gate? A. Yes, sir.
PURPOSE OF THE TWO GATES.
Q. Consider the first one; what was its function? A. In order that we could have system in handling the house.
Q. Yes; but what was it used for? A. When people were going upstairs that gate simply turned them for the balcony stairway.
Q. You are talking about the lower gate? A. Yes, sir.
Q. So, by reason of this gate, when the people started out they could have only one direction in which to leave, instead of two, as would be the case if no gate were there? A. Yes, sir.
Q. Let us consider the other gate; what was it for? A. To keep the people from going down into the dress circle, and to keep them on the regular stairway for the balcony.
Q. I believe you told me that you locked these gates yourself just before this matinee began? A. Yes, sir.
Q. That is correct, is it? A. Yes, sir.
Q. Did you ever say anything to Mr. Noonan or Mr. Powers or Mr. Davis as to the importance of having men stationed there, instead of a gate, so that in case of fire this would not be an obstruction? A. No, sir; they were always unlocked after the second intermission.
Q. In what act was that? A. At the close of the second act they would be always unlocked. They were exits.
Q. At the time this fire began and people started out, were they still locked or unlocked? A. They were locked.
NEVER ANY FIRE DRILLS.
Dusenberry admitted that at the time of the fire's outbreak he was descending from the top balcony after having made an inspection of the entire house. This was his custom, to see that the ushers were in their places. He said that 100 personswere standing in the passageway back of the last row of seats on the first floor and about twenty-five persons occupied standing room in the rear of the first balcony, and seventy-five in the rear of the top balcony.
He admitted that he had never received any instructions from any of the owners or managers of the theater as to what to do in case of fire. He said that he had been told in a general way by Will J. Davis that he was to instruct the boys in their duties as ushers and make them familiar with the house.
There had never been any fire drills, he said. He did not know, he said, from what point or in what manner the large cylindrical ventilator over the auditorium was worked. It was because this ventilator was open and those above the stage closed that the fire was drawn into the front of the house. He said the nine exits on the north side, three of which were on each floor, were all bolted at the time of the fire; also that the nine pairs of iron shutters outside the inner doors were bolted at the time, and that he had never received orders from any one to have these unbolted while the audience was in the house.
GATES WERE BATTERED.
"I found these gates in a battered condition by personal inspection, the next morning after the fire," Fire Department Attorney Fulkerson added. "I hunted up Mr. Dusenberry and took him to the place and examined him on the spot as to each minute detail. The examination was with reference to their being locked, and as to why a man had not been stationed there, in place of a gate, to direct the people.
"I called two policemen as witnesses. The reason I have kept this matter secret until now was the fact that this is the first day I have had an opportunity of examining Mr.Dusenberry under oath and taking his statements in shorthand to be used in any proceeding that may follow.
"The importance of his testimony is that he is the man the theater management had put in direct control of the audience and auditorium, and the facts which he has testified to speak for themselves. Let the public draw its own conclusions.
"I wish to say, however, with reference to those iron gates that they are no part of the building or the stairway as turned over by the builders and were not a part of the plans of the same, but a feature installed by the management after the stairways were finished and accepted, and no permit was obtained from the city building department to place the gates there. They proved to be the gates of death. Until this time they have been overlooked in the general investigation and silence has been maintained by the fire department for the purpose of clinching the evidence concerning them. This was rendered necessary through the fact that those best qualified to tell of their danger gave up their lives in acquiring that knowledge. They were gathered from behind the deadly barriers and now lie in eternal silence beyond the reach of all earthly summonses and the jurisdiction of our tribunals."
Ernest Stern, 3423 South Park avenue, Chicago:
"There was nothing left in the playhouse but standing room when my sister and I arrived, so we bought tickets according that privilege and took up a position in the middle of the first balcony. We were standing there when we saw the first evidence of fire and at once ran out. We owe our lives to that fact.
"It was about the middle of the second act when I noticed the blaze on the upper left-hand corner of the stage. Those on the stage seemed to be in semi-panic. The people didn't know what to do. Then there seemed to be somebody givingdirections for them to put down the curtains after a burning piece of scenery or something fell on the stage. A man came out and gave instructions for them to pull down the curtain and after that we went out the door, downstairs and came to a door on the left hand side in the foyer, facing the street, and in the inner vestibule. There was a man there. He was not in uniform. He was trying to open the door, which was locked. There was a pair—two doors—and one of them was open and a great crowd was going out. This man was trying to unlock the other door and he could not do it. I broke the glass, and that wouldn't do either, so I kicked the whole door out and we escaped."
DIDN'T BOTHER ABOUT LOCKED DOORS.
That the foyer doors, which the van of the fleeing audience found closed, were locked during the performance was the statement of Harry Weisselbach of Chicago. He was at the ticket office in the outer vestibule off Randolph street, some time before the fire and saw two men in an argument regarding the doors. They were coming out of the theater.
"That's a mean trick, to lock the doors so people can't get out," said one of the men. "They have locked the doors again," he continued, looking back at the door man. "I wonder if there is a policeman around here."
The man's companion replied that he wasn't going to bother about the matter and the two left the theater. Weisselbach went around to the Northwestern University school and was there only a short time when the fire in the theater started. His story of the fire from that viewpoint was similar to that told by Witness Fred H. Rea.
DANCED IN PRESENCE OF DEATH.
Heroes and heroines—every one of them—the members of the octette told the coroner how they sang and danced to reassure the vast audience of women and children while death lowered overhead and swept through the scene loft, a chariot of flame. Modestly they revealed the part they played in the catastrophe while billows of flame, death's red banners, menaced their lives.
Madeline Dupont, 145 Franklin avenue, New York:
"I first saw just a little bit of flame, which was on the right hand side of the first entrance on the west, the first drop of the curtain. It was just above the lamp that was reflecting on the moonlight girls. It was a calcium light. I went back and got in my place with the pale moonlight girls and the boys came out and sang their lines. Then we eight girls went on the stage—as we always did—went down to the front of the stage—and going down stage I saw the flame getting larger. Mr. Plunkett, the assistant stage manager, was in the entrance, ringing for the asbestos curtain to come down. He rang the bell until we reached the front of the stage, where we went on singing. We sang one verse of 'The Pale Moonlight' song, and then Mr. Foy came out and spoke to the audience. What he said I don't know, and then Miss Williams fainted. She was one of the 'pale moonlight' girls, and stood alongside of me. She was taken out, and then Miss Lawrence and myself were the last girls to leave the stage. I went downstairs tonotify the girls down in the basement in the dressing rooms. I called to them that there was a fire, and advised them to run for their lives. Nobody was coming up then. Then I went out of the regular stage door entrance."
Ethel Wynne, New York City:
"When I was about to make my exit I noticed a very small flame to the right of the stage at the first entrance. It was really above the short fellow—a little gentleman, rather—who stands on the bridge. This flame was above his head. When he noticed it he put both hands up to get the burning material—just grabbed up to get the material that was burning. But the flame was away beyond his reach.
"The calcium light is below that, and it appeared to me as though it was the side of the curtain where the curtains are drawn up, or something. The flames spread very rapidly. I remember seeing Mr. Plunkett very plainly in the first entrance and hearing bells ringing for the curtain to fall. I said to Miss Dupont and Miss Williams, 'The curtain will fall in the meantime, the bells have rung.' We went to the back to make our entrance and the bell still continued to ring. I remember very plainly that I heard some one yell, 'Drop the curtain.'
"I noticed clearly that the curtain was caught, and it must have been on our left. It came down on the right hand side. The flames were going up very rapidly. I very foolishly lost my reason and walked back to the back steps, where I had made my entrance. From there I unfortunately had to watch the awful sights that we know of. I don't know to this hour how I got out of the burning theater."
Gertrude Lawrence, 5 West 125th street, New York:
"I was the leader of the octet, and I was on the platform going to meet my partner when I first saw the flame. I went on working as usual, down to the front, and paid no moreattention to it because I thought it would soon be out. It was on the right hand side of the stage, above the stage. I noticed there was quite an excitement on the other side, but I went on working. I thought if there was an awful fire there would be a panic, and I thought by working I would quiet the people. Then I turned and saw the flames and went up the steps, there looking back and seeing the audience in the awful panic. Then I went out the usual stage door."
Daisy Beaute, 178 West 94th street, New York:
"I was standing in the third wing ready to go on, and I saw a flame on the left hand side, facing the audience, from the draperies above the first entrance on my right hand side. It was in the draperies clear at the top of the arch in the stage opening. We kept on dancing, but Miss Williams fainted. I ran for my life without waiting to see anything more."
Miss Edith Williams, the member of the octet who fainted on the stage, swooned again soon after she took the witness stand. Deputy Coroner Buckley had just administered the oath and asked the young woman to be seated, when she fell backwards. The fall was broken by a stenographer, and the woman saved from serious injury. She was assisted to the witness room and revived. Another witness was called.
Miss Anna Brand, another member of the octet, testified to the facts similar to those related by Miss Dupont and Miss Wynne, Miss Lawrence, Miss Beaute, Miss Richards and Miss Romaine, the remaining members testifying in a similar strain. None admitted knowing who opened the rear stage door leading to Dearborn street, the door through which came the cold blast that forced the fire into the auditorium.
"Jack" Strause, 31 West 11th street, New York:
"The octet had just made its entrance, walked four steps and danced eight, bringing the members to the center of thestage, when I discovered the fire overhead at the side of the proscenium arch. My partner in the scene, a young woman, cried out that she was fainting. She braced up, however, did a few more steps and collapsed. As I stooped to pick her up I saw the curtain fall possibly six or seven feet. From that time on I observed nothing more of the progress of the fire, being engrossed in an effort to carry out the unconscious young woman. Upon reaching the big scene door at the north of the stage, a strong blast of air blew us both into the alley. The rush of air was occasioned by the falling of a partition behind me, I think. I carried the girl into a neighboring restaurant, where she revived."
Samuel Bell (Beverly Mars):
"We saw the fire start about the time we made our entrance, but continued with our 'turn,' reaching the center of the stage. The fire was spreading and large sparks and fragments of burning material were falling, but we kept on until Miss Williams fainted. I saw the people in front commence to get excited and I put up my hands and told the people to keep as quiet and move out as easily as they could and not to get excited. I looked up again and I saw the drop curtain coming down. I should call it the asbestos curtain. It came down, as near as I could judge, about six or eight feet. Then I turned to look for my partner and she had gone. I looked on the stage to see her and I could not find her. She had gone off the stage. I merely went off the stage, out of the same side I had entered—I could not say exactly which entrance—and then out of the stage door, which was wide open."
Victor Lozard, 235 Bower street, Jersey City:
"I was coming out with the boys, eight of us, at the right side. We came up and met our partners and we got down as far front as the footlights, when Miss Williams fainted, whichattracted my attention to some flames up at the first entrance on the right side. I then immediately turned around and helped pick Miss Williams up, and by that time my partner had left me, and I left the stage on the right side. I went up and was going to leave by the stage door, but people were going out there, and so I went over to the back drop, to the right of the stage, and there, about the middle of the stage, I was blown down or knocked down, I don't know what happened to me, and the next I knew of myself I was out in the alley. I don't know how I got there."
John J. Russell, Boston, Mass.:
"I had taken the first twelve steps of the dance when I first noticed the fire. It was in the first entrance, prompt side, about fifteen feet above the stage. The flame then was about five inches in length.
"I noticed that for about a second. I continued on with the rest of the business, and me and my partner, as I always had done in that number, went down to the footlights. When we got there we continued in the business for about three or four seconds after getting down. Then Miss Williams fainted. The flames were falling to the stage, large pieces of burning material, and seemed to create quite a little disturbance among the people in the audience. I spoke to a number and tried to quiet them.
"I told them to be seated, that everything would be all right, and to quiet down, and quite a number did. After Miss Williams fainted it attracted my attention, of course, to what was going on on the stage. I saw one of the moonlight boys pick Miss Williams up in his arms and go toward the stage entrance, other members of the octet following, except myself. I staid until they were out of sight. I left the stage by the secondentrance on the prompt side. I went down stairs by the stairway beside the stage elevator.
"I came back on the stage again, made one more trip down stairs, and then I came to the stage once more. I went partly up stage, toward the stage entrance, that was all in flames. I looked to the other side of the stage and that was all in flames. I went down to the footlights, crossing again across the stage, and jumped over the footlights into the auditorium and made my way out to the first exit on my left, looking into the auditorium from the stage, into the alley. The panic was on at that time and it was a dreadful sight."
The statements of the remaining members were almost identical with those quoted.
JOIN TO AVENGE SLAUGHTER OF INNOCENTS.
Ten days after the fire horror, while blood curdling disclosures were coming to light revealing the fate of the penned-in fire victims in a new and more ghastly aspect, and while school officials and pupils gathered to express grief for the 39 teachers and 102 pupils who were gathered in the grim harvest, an inspired movement sprang from the aftermath of woe. It was a cry for justice.
In an upper chamber in a towering sky-scraper in the heart of teeming, bustling Chicago, scores of sad visaged men and women assembled to lay aside their burden of woe and enter upon the prosecution of those whose avarice, neglect or incompetency had snuffed out all happiness and sunshine from their lives. A preliminary organization of relatives of victims of the Iroquois theater fire was effected in consequence on Saturday, January 9, for that purpose, at a meeting held in the offices of the Western Society of Engineers, in the Monadnock building.
The meeting was held in response to a call sent out by Arthur E. Hull, asking that concerted action be taken by the relatives and survivors to cause the speedy prosecution and punishment of any who were criminally responsible for the disaster and to learn those financially liable for claims. Mr. Hull lost his wife and three children in the catastrophe.
Long before 3 o'clock, the time set for the meeting, many fathers, mothers, brothers, sisters and near relatives ofvictims began to gather. Nearly every seat was taken when the meeting was called to order. There were perhaps 125 people present, among whom over a hundred lost near and dear relatives in the fire.
Attorney W. J. Lacey announced the object of the gathering by reading the call and suggested the formation of a temporary organization. Mr. Hull was elected chairman and Edward T. Noble secretary.
MR. HULL'S STATEMENT.
Mr. Hull spoke briefly of his reason for calling the meeting.
"The last time I saw my wife and little ones," he said, "was on the morning of the fire. I did not know until late in the evening that they had perished in the flames. There are many others who have suffered as deeply as I have, on account of this horror. There are some families, perhaps, whose means of support have been wrested from them. There is suffering and sorrow throughout this great city. It is my desire that we work together in the effort to find out who the men are that are criminally and financially responsible for our terrible loss and bring them before the bar of justice.
"It was the duty of the contractors who built the Iroquois theater to see that the building was complete in every detail before turning it over to the management. This, in my opinion, establishes their responsibility. The architect may also be held responsible.
"As to the building inspector, I think he should be prosecuted to the fullest extent of the law. It was his failure to hold the management to a strict adherence to the law that brought about the destruction of nearly 600 precious lives. We have recourse to the courts of justice. Let us stand together and see that punishment is meted out to the guilty."
ATTORNEY T. D. KNIGHT SPEAKS.
Chairman Hull then called for an expression from his attorney, Thomas D. Knight, who spoke as follows:
"Mr. Hull's object in calling this meeting is to place the responsibility where it belongs, not upon the scene shifter and the stage hand, but upon men high in authority—the management and owners of the theater. They are the men he regards as financially and criminally liable for the disaster that destroyed his family and families of many of those present here today. It was Mr. Hull who caused the arrest of Mr. Davis and Mr. Powers of the theater management, and Building Commissioner Williams. As Mr. Hull is so deeply affected by his loss he has requested me to state that it is his desire that a permanent organization be effected.
"I believe an executive committee should be appointed to ascertain just what is best to be done and do it. I would suggest also the appointment of subcommittees on civil authority, permanent organization and finance. This last committee would be an important adjunct of this organization. It should be the aim of the finance committee to learn how many families are destitute as a result of the loss of their means of support in the fire and see that they are provided for. There are plenty of men of wealth in the city today who would gladly contribute to such a worthy cause.
CORONER'S WORK THOROUGH.
"As to the question of who are financially responsible the coroner's investigation has been thorough, careful and fair. The coroner's questioning has been competent and complete in every respect. It is probable that he will be able to determine just which men are to blame. Enough has been developedalready to prove that there was gross and culpable negligence on the part of the proprietors of that theater.
"As far as Klaw & Erlanger are concerned we have evidence connecting them already. The blaze that ignited the draperies and scenery was proved to have come from the 'spot' light, which was operated by an employee of the 'Mr. Bluebeard' company, which is owned by these men, who control the theatrical trust. If it can be shown that Mayor Harrison and other city officials by their negligence contributed to the loss, then they can also be held responsible. There is no doubt but that those who are liable can be attacked in the civil courts."
REMARKS BY ELIZABETH HALEY.
A general discussion followed, during which Miss Elizabeth Haley, residing at 419 Sixtieth place, arose and made some revelations in regard to the lack of fire protection in various public schools. She said:
"I presume the gentleman who has just spoken is an attorney and I would like to ask him if the men who allowed such criminal conditions to exist—the mayor, aldermen and city trustees—if they could not be held liable, both civilly and criminally? I am a school teacher, and I would like to know if men who time after time have completely ignored reports about the absolute absence of fire protection in school buildings are not liable?
"To my personal knowledge reports have been made month after month to them, and nothing was ever heard of them. I know of schools where there is no fire hose, no fire extinguishers, no fire apparatus of any kind, no fire alarms, no telephones, no fire escapes—not a thing that would enable the hundreds of children to save their lives in the event of a fire. And these buildings are locked at 9 o'clock, with only one exit left open. Are not the mayor, the aldermen, and the trustees directlyresponsible for this state of things, and are they not the men who should be prosecuted along with the proprietors of that theater?
"On November 2 last, the newspapers reported that a complaint had been made before the city council that the theaters were violating the laws. That report went to a subcommittee and has never been heard of since; and a day or two later Mayor Harrison came out with a statement in which he defied criticism and declared that there was no truth in the complaints. The whole thing strikes me as a splendid lesson in civics—that we cannot shirk our duty, even as high officials."
The following committee, the majority residents of Chicago, was named to act, pending further action: J. L. McKenna, 758 South Kedzie avenue; Henry M. Shabad, 4041 Indiana avenue; J. J. Reynolds, 421 East Forty-fifth street; E. S. Frazier, Aurora, Ill.; Morris Schaffner, 578 East Forty-fifth street.
All of these men lost members of their families in the fire, Mr. McKenna losing his whole family.
AWFUL PROPHECY FULFILLED.
More than a quarter of a century ago the prophecy was made by theChicago Timesthat a terrible calamity was in store for the public on account of the lax provision made for escape from burning theaters. The prophecy was put forth in the guise of a pretended report of such a horror in the issue of that publication for February 13, 1875, and was as follows:
"Scores of houses are saddened this beautiful winter morning by the fate which overtook so many unsuspecting people in Chicago last night. The hearts of thousands will be stirred to their depths with sympathy for the unfortunates. It was a catastrophe awful in its results, yet grand in its horror. Nothing has equaled it for years; it is to be hoped that its counterpart will never be known.
"There are smoking ruins down in the heart of the city—ruins of one of the finest theaters in Chicago, which fell a prey to the devouring element last night. There are mourning households and rows of dead bodies at the morgue. There will be anxious inquiries on the lips of many persons with whom one will meet manifesting an eagerness to know whether friends were swallowed up in the flames or made good their escape.
"While it cannot be said that the catastrophe was entirely unexpected, yet it came so suddenly and so little had been done to obviate it, that its results are fearful to contemplate. For months the frequenters of the various places of amusement in Chicago had often questioned themselves whetherthere would not come the day when in some of these buildings grisly death would stalk forth, like a thief in the night, and lay his cold hands upon the unsuspecting throng; at last the terrible moment and the horrible reality dawned.
"With all her experience in conflagrations and attendant horrors, Chicago has nothing to compare with this catastrophe. Even the fire of 1871, which swept over a vast extent of country and reduced proud and formidable looking buildings and scattered their strength to the winds, lacked the comparative loss of life which this one disaster has entailed. Property may be dissipated, but it can be recovered once more.
"Death robs us forever of our dear ones, and leaves a void which time can never fully fill.
MOURNING AND INDIGNATION.
"As we tread today upon the very heels of this latest sad event and take a comprehensive view of its details and results, no one, not even though he have no personal interest in the loss entailed, can help joining in the expression of mourning which will go up, and at the same time give vent to the already too long-suppressed feelings of indignation, which have from time to time arisen when thinking of the flimsy manner in which theaters are built, their lack of protection against fire and the inadequate means afforded inmates to escape therefrom in the event of an undue excitement that should spread a panic, ere the breaking out of a fire.
"The sympathy for the dead will be equally balanced by vigorous denunciation of the criminality of everybody who, in an official or proprietary capacity, is interested therein.
NOTHING ELSE SO HORRIBLE.
"In the history of the country there are few events that can match this one. The burning of the Richmond theater, thefalling of the Pemberton mill, the burning of the cotton mill at Fall River, the breaking loose of the Haydenville mill pond, with now and then of late years the engulfing of some steamer on inland lakes or the ocean, have for the time cast a great pall of mourning over the land, but they only stand in the same category with this last disaster, and can hardly rival it in swiftness of culmination or suddenness of origin.
"For the time being this will furnish the chief topic for conversation, and if theTimesmistakes not, it will as well arouse the public to a complete realization of the unsafeness of theaters in general, and have the beneficial effect even in its tragic nature of moving the people to insist upon the adoption of a certain amount of safeguards against a like event in the future. The time to move in this matter is at this critical juncture, even while the charred remains of the
UNFORTUNATE VICTIMS
are lying stark upon their biers and friends are stabbed with the grief of the untimely taking off of their friends.
"In the excitement of this hour it is no time to deal in sentimental reflections. The scenes of the past night are too fresh to warrant lengthy dwelling upon the morale of the occurrence. It is sufficient that it is distinctly understood that the catastrophe was more the result of insufficient means of egress from the theater than was the primary cause of the development of the fire, although the latter, aided by the first and helped on by the panic stricken people, who from the outset appreciated the terrible position in which they were placed, augmented to a large degree the number of deaths.
"Chicago theaters as a general thing are tinder boxes into which humanity are packed by avaricious managers without any regard to their safety or thought of the imminent riskwhich is nightly impending. Evidently their only desire is to fill the house, gather in as much money as possible, while they take no heed to the dangers which surround their patrons on every hand.
"The lesson had to be taught some time, it was inevitable; it had to be located at some one of the places of amusement, although all of them were—and those remaining are still—liable to share the same fate at any moment. If the experience of one should teach the others a little wisdom, the existing evil may perhaps be remedied, although it shall have been at the sacrifice of human life.
FIRE! FIRE!
"The gallery was overflowing and the gate that opened to the stairway which led to the floor below, as usual, was locked, so that those who bought cheap tickets could not make their way to higher-priced sections on the lower floor. In the uppermost gallery—where the 'gods' are supposed to assemble, and from which comes much of the inspiration which upholds the ambitious actor and transports the ranting comedian and raging tragedian to the seventh heaven of bliss—in this gallery there was a motley crowd.
"They were there in large numbers, because the play had something that savored of blood; there was a broadsword combat and a murder scene. For reasons the very antitheses of these were the people downstairs drawn thither—there were love scenes and heart-burnings and statuesque posings, and artistic excellencies of varied kinds. It was a play that touched the feelings of humanity, the vulgar as well as the refined.
BEFORE THE DISASTER.
"The auditorium was ablaze with light, the audience were lit up with gaiety. Handsome women, richly clad, ogled oneanother and cast coquettish glances at dashing gentlemen. Fond mothers, chaperoning blooming daughters, chatted pleasantly, while indulgent fathers, although seeking relief from the cares of the day in the charming play, found neighbors near at hand with whom to discuss sordid business or perplexing politics.
THE HOLOCAUST.
"As has been stated, the house was filled with spectators. When the premonition of the impending disaster had been given out, and after the first great thrill of horror had, for the instant, frozen the blood of every spectator and caused an involuntary check to every heart, there came quickly the manifestation of a determination to 'do or die,' to escape from the angry flames if possible. And with this determination came the positive assurance of the growing calamity, through the person of one of the actors, who but a short time previous had been playing the buffoon, setting staid people agape with amusement and turning dull care into festivity. Hastily drawing the foot of the curtain back from the proscenium pillars, he thrust his blanched countenance into view and screamed with terrified voice:
"'Hurry to the door for your lives; the stage is afire!'
THE STAMPEDE BEGINS.
"It hardly needed these words of warning to perfect the demoralization which had seized upon the terrified crowd. The stampede had already commenced; the work of death had been inaugurated.
"Those who escaped, and with whom theTimesreporter had the good fortune to talk, on last evening, say that the detail of the horrors of that scene would defy description. Oneor two of these informants were so far down in the dress circle that they saw the whole of the catastrophe and measured its horrible magnitude as best they could under the excitement that prevailed. How they escaped is more than they could tell, but they found themselves borne along, lifted and pushed forward till the door was reached, and the outside and safety gained. They describe the scene inside the theater as
ONE OF STUPENDOUS HORRORS.
"The affrighted audience, rising from their seats, began simultaneously to attempt to reach the means of egress. Timid females raised their hands to heaven, shrieked wild, despairing cries and fell to be trampled into eternity by the heels of the wild rushing throng. Mothers pleaded piteously in the tumult and the roar that their darling daughters might be spared, while they themselves were resigned to the fate which was inevitable. Stout men with muscles of iron and cheeks blanched with terror clasped wives and sweethearts to their breasts and
CURSED AND BLASPHEMED,
and piteously prayed—the one that their progress was impeded, the other to those who, like them, prayed for a safe deliverance, but who were unable to afford the slightest assistance.
"Meanwhile the flames had eaten their way to the front, and with one fell swoop licked up the combustible drop curtain, spread themselves across the proscenium and were working up towards the ceiling. Reaching this point the destroying element seemed to pause a moment as though pitying the position of the puny individuals who were fleeing its approach, and then remorselessly swept down in forked fury and pierced venom. The terror-stricken crowd felt the hot breath of the monster and surged and swayed and tried to escape its fury.
DEAD BODIES FOUND.
"The corpses recovered were, as has been before stated, taken to the street, removed two blocks away from the scene of the disaster, and, for the time being, laid out upon the pavement, awaiting the recognition of friends. Fathers and mothers, who in the tumult of the stampede had become separated from children; husbands who, despite their efforts, had felt themselves torn away from wives; friends who had been
SUDDENLY AND FOREVER PARTED
from friends; young men, who, while they had no friends to lose in the building, yet felt themselves bereft by reason of the common sympathy of the human heart; all these had, during the time preceding the recovery of the bodies, filled the streets and poured out their inconsolable grief in loudest tones. TheTimesreporter to whose lot fell the recording of the scenes depicted under this head hopes that it may never again be his to witness a repetition of the scene. The anguish, the frenzy, the loud wailings, the heart-broken demonstrations were, indeed, overpowering and calculated to make an impression upon even the most stony heart that will last as long as reason holds its sway.
THE FRENZY OF FRIENDS.
"The silent bearers of these bodies, as they came and went, could not but be moved to tears at the reception which their burdens met. Here a charming girl, cut off in the flower of her youth and at the height of her pleasure; there a promising lad, full of hope but an hour before. Again, the silvered head of a loved mother, and soon the sturdy frame of one who had passed the heydey of youth and was beginning to enjoy the fruits of his youthful labors. There were people well known, whose sudden taking away will shock many a friend thismorning; and there were others, too, male and female, who, lacking friends in life, found no mourners save the full heart of a sympathetic public to regret their departure.
TOO HORRIBLE TO DWELL UPON.
"But these scenes are too painful to be dwelt upon. One by one the dead were removed, some to near hotels, to await the coming dawn, when they might be taken to their late homes, and others being sent to the morgue by the police. At 2 o'clock officers were still searching, and the populace who had been drawn together by the awful catastrophe had dispersed in the main, although a few still lingered about the ruins, anxious to offer assistance where it might most be needed, while two streams of water continued to be poured into the building that every spark might be extinguished.
HOW THEATERS SHOULD BE BUILT.
"Granting that the conflagration detailed never happened, it is something liable to occur at any time in this city. Newspaper accounts more sensational in headlines and more shocking in narrative are to be expected almost any morning. The above is but a suggestion of what may at any time become a reality. Theaters are so built and so crammed with inflammable materials that a fire once started in them would in an incredibly short period gain such headway that nothing under heaven could check its mad and devouring career. Furthermore, the means of exit and all other avenues of escape are so limited that a panic once inaugurated in a crowded house would bring destruction upon the heads of a large proportion of the audience. Have theater-goers in Chicago ever thought of this, as, crowded into a seat, with means of hasty exit cut off, they have sat and looked around them upon the hundreds of others similarly situated?