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Website with 681+ pages devoted to 1903 Iroquois Theater fire in Chicago

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Archie did what he could

The hunt for the guilty started the day after the Iroquois Theater fire.  Within hours the chief electrician, Archie Bernard, was at the top of the interrogation list.  In addition to his knowledge of lighting in the theater, his work station at the switchboard on the south side of the stage was directly beneath the arc lamp that ignited a curtain and started the fire.  (See accompanying illustrations.)  To investigators, a man at the heart of the action seemed sure to have vital information and Archie did, but because of what he heard rather than what he saw.  Working directly beneath the fire origin, the fly above his head blocked Archie's view so he did not see lamp operator, William McMullen, and house fireman, William Sallers trying desperately to put out the first flames.  He heard their shouted words, however, and was able to provide investigators with the first accurate explanation of what happened.

Harry Bissing 1898 article about theater switchboard design

 

Thirty-five-year-old Archibald Bernard (1868-1850), nicknamed Archie and Arch, was probably at home with his wife Hattie by the time law enforcement got his name from other stage workers.  Hattie might have heard about the fire from neighbors so would have been relieved when he came in, shivering from the below-zero winter cold and excitement, smelling of smoke.  And with a tale he'd never forget.

Archie part of hero chain

While Eddie Foy was on stage trying to calm the audience, Iroquois employee Robert Smith bravely operated the stage elevator up and down through the smoke and increasing heat.  He brought three cars full of coughing and gasping performers, mostly chorus girls, from dressing rooms and bridges above the stage to the ground floor.  Once there the girls floundered to get their bearings in the darkness, falling shards and smoke-filled air.  Archie and nine other stage workers, including J. R. O'Mally, Arthur Hart and William Price, formed a line between the elevator and stage door.  As terrified performers emerged from the elevator, men in the chain grabbed them to guide, wrestle, sometimes nearly throw them from one man to the next until all were safely outside in Couch Place alley.  Hair and clothing of some stage workers had to be extinguished.

Soon after Archie made it outside, the loft anchors gave way and thousands of pounds of fabric, rope and wood came thundering to the stage floor, shaking the entire three-story brick building.  People on the street would later insist there had been an explosion.

Flames soon destroyed Archie's switchboard and the auditorium went black.  The fireball soon killed nearly everyone inside the auditorium.  The only sound come from the lobby as first responders began to enter the building, and the death throes of people in the balconies.

Escaping lockup

On January 1, 1904, two days after the fire, Archie was one of six Iroquois and four Mr. Bluebeard company employees arrested.  He was the only one able to put up the bond for his $5,000 bail.  Arraignment before judge Caverly was scheduled for January 11, 1904.  Police arrested another eleven two days later.

At the January, 1904 coroner's inquest, and again at the Grand Jury trial in February, 1905, Bernard testified that he knew how to operate the ventilators but 1.) the controls were on the opposite side of the proscenium arch from his switchboard work station, 2.) his work station was encircled with a 54"-high brass rail that made rapid movement to other stage locations impossible, 3.) his job at the switchboard kept him fully occupied pulling lighting switches and 4.) ventilation switches had never been part of his Iroquois job responsibilities.

 

See list below of changes in Chicago theater lighting regulation that came about as a result of the Iroquois Theater fire.

  

Who did what?

In a promotional booklet distributed to VIP guests at the Iroquois on opening night, November 23, 1903, Harry Bissing (1875-1959) was credited with lighting effects on the Iroquois stage.

Bissing was a consulting engineer for theater construction and production, a favorite of Klaw and Erlanger, working on such projects as Ben Hur and involved over his lifetime with a long list of theaters.

As the husband of German light opera singer Else Alder (Elizabeth Juliana Alder), and with an active engineering and design business, Bissing was probably a busy fellow.  In addition to projects like Klaw & Erlanger theaters, he patented several lighting devices, authored articles in electric trade magazines and, according to his obituary, designed the first signs on Broadway to use intermittent bulb power to simulate motion (unverified).
Harry Bissing's wife, light opera singer Else Alder
Archie Bernard is thought to have been in charge of overseeing installation of Bissing's design for stage lighting at the Iroquois.

 

Harry Bissing patent for spark-free carbon lamp

Archie Bernard bio

Married in 1888, Archie and Hattie had been together for fifteen years in 1903.  They did not have children. Elizabeth Harriet McKeon (1867-1943), sometimes spelled McCuen, is thought to have been one of five children born to Patrick and Augusta McKeon.  Bernard and his parents were from Missouri.  I failed to learn the names of his parents or siblings so am hopeful this story will some day attract the attention of a descendent.

According to newspaper reports, the Bernards lived at 844 W. Van Buren in 1903, in a four-room flat, including a bath.

Like many other working class Chicagoans in the Edwardian years, the couple had moved nearly every year, from one rented flat to another.  Their apartment on Van Buren was probably roomier than others they'd occupied.

In the years after the fire

Archie continued to work as a theater electrician for the next thirty years.  He and Hattie were able to become home buyers by 1930, perhaps as a result of New Deal mortgage opportunities.  Their home at 4035 Fifth Avenue is today a vacant lot.

1905 Western Electric magazine

Wiring and Other Electrical Regulations for Chicago Theaters after the 1903 Iroquois Theater fire

In the Iroquois Theater fire of December, 1903, Chicago had such a terrible experience that it revised its wiring regulations for theaters. That fire, although originating in a spark from an arc lamp used on the stage, was not due so much to deficiency in existing requirements as to laxity in their enforcement And if there had not been further laxity in relation to exits, stage flues, fire-fighting apparatus, etc., there would probably have been no loss of life after the fire started. Nevertheless, in the light of that terrible calamity, the specifications for arc lamps in theaters, for theater wiring and control of stage flues have been entirely revised and are now considered to afford effective protection.

Herewith are given, for the  benefit of all interested in the subject, the present rules and regulations of the Department of Electricity of the city of Chicago relating to spread and lens lamps, as they are called, to the control of stage flues and to the wiring of theaters.

Spread Lamps

  • Frame
    The frame of lamp must be made entirely of metal, and no wood used in connection with it. The metal frame to be made of galvanized steel of a thickness equivalent to No. 24 U. S.  Standard gauge.   Bottom. — Must be made of two thicknesses of  metal for strength and be entirely closed, except  that the extending rod controlling carbon holders  may enter through the bottom, but must be bushed  in such a manner that no opening can exist.   Sides.— Must be ribbed or fluted for strength  and be entirely enclosed; colored glass or the like  may be inserted in the sides, provided it is held  in place both inside and outside by a metal washer  riveted tightly to the frame.
  • Back
    Must be entirely enclosed, except that the leading-in asbestos covered conductors are to enter here, protected with porcelain bushings; wires must be sealed inside of bushings with asbestos. Short porcelain bushings having the heads inside of lamp are to be provided and held in place by a suitable flanged ferrule riveted to metal frame.
  • Top
    Must be ribbed or fluted for strength and  be suitably ventilated with a sufficient number of  one-half-inch openings and provided with a substantially raised hood having openings at sides; approved gauze wire to be provided outside of  casing to cover openings, and substantially and  tightly riveted to metal frame to prevent sparks being emitted from the lamp.
  • Front Opening
    Must be provided with a hinged frame in which ground glass or other glass must be inserted; color holder to be a part of this hinged frame, and frame must be so arranged that it cannot open wider than 60 degrees; the frame of opening must close in an approved manner, and when closed must effectually prevent any spark from getting out of lamp.
  • Guard
    Must be provided with a one-sixteenth-  inch iron or steel guard having a mesh not larger  than one inch, and be substantially placed over top and upper half of sides and back of lamp frame; this guard to be substantially riveted to frame of  lamp and to be placed at a distance of two) inches  from the lamp frame.
  • Lamp insulation
    Fiber or rubber will not be approved as insulation for metal parts, but mica of suitable thickness and size will be required.
  • Lamps on Single Standard
    Not more than one arc lamp will be permitted to be supported on a standard.
  • Switch on Standard
    Knife switches controlling lamps must be encased in one-sixteenth-inch sheet steel box, and arranged in such a manner that the opening or closing of the cover of box will open or close the switch.
  • Lugs
    All stranded connections in arc lamps and at switch and rheostat must be soldered into lugs having ample contact surface.
  • Carbon Holders
    Carbon holders which will circularly grip the carbons and cover at least one square inch of carbon surface will be required.
  • Rheostat
    The rheostat, if mounted on standard, must be raised to a height of at least three inches above floor line, and in addition to being properly enclosed must be surrounded with a substantially attached metal guard having a mesh not larger than one square inch, which guard is to be kept at least one inch from outside frame of rheostat.
  • Operation
    It will be important to provide a competent man for each lamp, whether "hand-feed" or "automatic," and for the operator to remain at each lamp until the connections leading to lamp have been cut off. It will be necessary  in operating lamps to have them so placed that the  operator's head will be slightly elevated above the  lamp frame, as the safe and proper care of lamps  requires looking down rather than up at the lamp.  In case of any improper operation of arc lamps by incompetent operators, this department will reserve the right to order the discontinuance of the use of arc lamps in theaters.

Lens Lamps

Lens lamps are to be the same as spread lamps, except that the front may be made stationary and door provided on back or side; said door to be provided with spring hinge to close properly, and with a rabbet so set that it will positively close opening.

Control for Stage Flues

Flues or vents over stages in all Class V theaters shall be provided with metal dampers, and shall be operated by a closed-circuit battery or closed lighting circuit.

Magnet operating damper to be wound to take full voltage of circuit it is supplied with, using no resistance device, and must not heat more than normal for apparatus of like construction. Magnet must be located in loft above scenery and be installed in an iron box with tight-closing door. 

Such dampers are to be controlled by two switches, one at electrician's station on the stage, and the other at the city fireman's station on opposite side of stage. Said switches are to be standard single-pole switches mounted in substantial iron boxes.

Wiring between switches, magnet, batteries, etc., to be standard No. 14 rubber-covered wire installed in iron conduit.  Conduit must properly enter all boxes and be provided with lock nuts and smooth bushings on end.

The above apparatus must be independent of all other devices or apparatus used to control these dampers and its operation must not be interfered with in anyway.

Theater Wiring

1. All fuses used in connection with lights illuminating parts of the house used by the audience, such as auditorium, halls, corridors, lobbies, stairways, etc., and also supplementary lights on the stage, must be enclosed in double fireproof enclosures with a half-inch air space between materials, and be so constructed that there will be six inches between the fuses and the sides and face of enclosure if open fuses are used, and three inches for cartridge fuses. When iron or steel are used the materials will have to be of a thickness of at least one-sixteenth inch.

2. Switchboards accessible from stage level must be protected by an approved guard rail to prevent accidental contact with live parts on board.

3. Approved stagecables will be allowed to connect stage pockets to strip lights and bunch lights, and to extend from border lights to fly gallery panel boxes, but no other exposed wiring will be allowed on any stage or in any dressing rooms, except by special permission. 

4. All wires, whether exposed or concealed, except those classed in the above paragraph, must be encased in approved iron conduits continuous from outlet to outlet.

5. Flexible cord will not be allowed in any dressing room, scene room, property room, or on  any stage or working portion of any of the above- mentioned houses.

6. Molding will not be permitted to be used.

7. Approved lugs must be sweated to the ends of all stage cables.

8. The use of calcium lights in theaters is strictly prohibited. All arc lamps used in the building must meet specifications of this department, and are not to be used until stamped "approved" by the city electrician.

9. A competent attendant must be constantly kept in charge of each arc lamp during the entire time such lamp is in use or connected to the live circuits.   

10. Pockets for receptacles must contain no gas piping, and must be rendered absolutely fireproof, and must be kept open at the bottom so that no accumulation of rubbish or dust will collect therein.  Pockets must be so constructed that live parts of plug will be protected by floor ledge and must be cleaned out before every performance.

11. Pocket receptacles, when permitted, must be wired for a capacity of at least 15 amperes.   

12. All stage borders must be constructed of galvanized or enameled iron having a thickness of not less than No. 20 gauge, and must be constructed so that the flanges of reflectors will protect the lamps. Borders must be suspended by wire rope.  Fuses must not be placed on borders.

13. Strips are to be constructed the same as  the border lights above, except that in the proscenium strips a wire mesh will be required to keep  the curtains and scenery from coming in contact  with lamps. Other strips are to have iron bands so constructed that they will protect the lamps.

14. Footlights are to be mounted in an iron trough constructed of galvanized or enameled iron not less than No. 20 gauge.

15. General lamps about the stage and dressing rooms must be provided with approved guards.  Sockets or lamps will not be permitted on a canvas or other cloth setting.

16. Plugging boxes must be of an approved type.

17. Drop chandeliers will not be allowed in scene setting unless a special permit has been obtained for use in each setting.

18. The use of any special electrical effect, such as lightning, etc., must be approved before being used.

19. All lights in halls, corridors, lobby, or any other part of the building used by the audience, except the auditorium, shall be controlled by a separate shut-off located in the lobby, and controlled only in that particular place.

20. Every portion of the building devoted to the use or accommodation of the public, also all outlets leading to the streets and including all open courts, corridors, stairways, exits and emergency exit stairways shall be well and properly lighted  during every performance, and the same shall remain lighted until the entire audience has left the  premises. One 16-candlepower incandescent lamp for every 400 square feet of floor space will be considered sufficient for illumination.

21. All stairways and corridors shall be supplied with asupplementary lighting system of electricity,  gas or sperm oil and such system shall be independent of all other lights in such building, and  shall be in operation during the entire period such  theater is open to the public and until the audience has left the building.

22. All alterations to electrical equipment, and all new work to be installed or used on each attraction must be reported by manager of house and permits be secured before any work is done. (This to include sign work.)
 

Three Chicago electrical inspectors

Edison Electric installed electric fixtures

Sprinklered theaters were rare in 1903 Chicago

Other discussions you might find interesting

irqelectrical

Story 2861
 


A note about sourcing.  When this project began, I failed to anticipate the day might come when a more scholarly approach would be called for.  When my mistake was recognized I faced a decision: go back and spend years creating source lists for every page, or go forward and try to cover more of the people and circumstances involved in the disaster.  Were I twenty years younger, I'd have gone back, but in recognition that this project will end when I do, I chose to go forward.  These pages will provide enough information, it is hoped, to provide subsequent researchers with additional information.


I would like to hear from you if you have additional info about an Iroquois victim, or find an error, and you're invited to visit the comments page to share stories and observations about the Iroquois Theater fire.


Judy Cooke 2024 All rights reserved ©