An Unforgivable Disaster

"A playhouse so splendid in its every appointment,. . . a place where the noblest and highest in dramatic art could fittingly find a worthy home."- Chicago Tribune November 24th. 1903

"The Iroquois Theatre was a firetrap. The whole thing was a rush construction. It was beautiful but it was cheap. Everything but the structural members was of wood, the roller on the asbestos curtain, the pulleys, all a cheap compromise."- William Clendenin, Fireproof Magazine

There have been many triumphs throughout the history of Chicago theatre, but one terrible tragedy would have a significant impact on theatre locally and across the nation. The Iroquois Theater fire created changes in civic fire codes that would help to reassure theatre-goers that the theatre would continue. Ironically, modifications of these same laws in Chicago some seventy years later, would also assure the survival and growth of the theatre.

Among the greatly anticipated holiday events of the 1903 Christmas season was a matinee performance of "Mr. Bluebeard", the musical extravaganza starring Chicago native Eddie Foy. A capacity crowd of nearly two thousand patrons, mostly woman and children were gathered at the Iroquois Theater to witness this spectacular production.

The Iroquois was a grand marvel magnificent in it's interior design; the Iroquois gave patrons a  feeling of being in some exotic palace. Audiences were awestruck as they entered the 6,300-foot,cavernous space. And of course it was safe. In the wake of the Great Chicago Fire of 1871, new buildings were required to be fireproofed, and city inspectors would test these buildings prior to them being opened to the public. One such test was to soak the fireproof curtain with gasoline and set it on fire. Having successfully passed this test, the fire inspectors deemed the Iroquois ready to be opened.

At about 3:00 pm, Eddie Foy saw a spark fall from an overheard spotlight, and then pieces of burning paper gilded gently down on the actors who were still in the middle of a scene. An audible gasp came from the crowd, but there was no immediate panic or attempt to leave the theatre, though a lick of flame could now be seen burning the bottom of the main curtain. Perhaps the audience thought what they were seeing was an elaborate special effect.

In an effort to prevent panic Foy said to the audience; "Now keep your seats, there is no danger", though as he disappeared off the stage to the safety of the alley, he ordered that the curtain be lowered. The other actors remained calm, until they also realized the seriousness of their situation.

The "fireproof" curtain failed spectacularly this time. As it was being lowered it suddenly stopped half way down, this had the effect of helping to direct the flames out into the auditorium. Now the audience began to panic, and run for the exits and the horror that ensued was catastrophic!

Police, journalist, firemen, worked for almost five hours to remove bodies from the now smoldering ruin. The 600 victims told a story of a holocaust beyond belief. Among the bodies whose remains could be identified, was evidence of a stampede that must have occurred as people fled from the flame engulfed auditorium. Victims bodies show evidence of having been crushed, tampled, and smothered. A few of the unfortunates had heel marks imbedded in their faces. None of the 348 cast members were counted among the victims.

As horrible as it must have been for those who perished, even worse was that the tremendous loss of life could have been prevented. On closer inspection of the Iroquois, it was discovered that there weren't enough exits and that some of those exits were locked from the outside. Worse, the exit doors were designed to open inward, so that when the crowds pushed up against them they were trapped instantly.

In terms of theater safety, The Iroquois theater fire had national implications. The disaster forced city leaders across the country to enact legislation to prevent such a tragedy again. Changes created in the wake of the fire were; exits doors must open outward, and there had to enough to accommodate the audience, also an intake flue in the back of the stage to carry flames up and away from the audience.

Locally these laws were to stay on the books for years, and would not be challenged until the early 1970ies, when a new generation of young thespians would force a revision of these laws, and introduce the era of the storefront theater.

Free, Adult, and Uncensored

"I am asked whether a theatre subsidized by the government can be kept free from censorship, and I say yes, it is going to be kept free from censorship. What we want is a free, adult, uncensored theatre." - Harry Hopkins, WPA Administrator


The Federal Theatre Project (FTP)was part of President Franklin Roosevelt's relief program; the Works Progress Administration (WPA). An ambitious program, led by Hallie Flanagan, the FTP, was a part of the United States' first federally funded arts program. Regional units sprung up around the country.

Thomas Woods Stevens, was appointed as regional director of the Chicago unit. Stevens had conservative, more traditional vision, which placed an emphasis on American repertory plays, vaudeville, and Shakespeare, Henrik Ibsen and Christopher Marlowe.

Stevens' vision was viewed by representaives of the FTP's Play Bureau, as being too limited in its scope, and soon replaced by George Kondolf.

Some of the outstanding productions mounted under the auspices of the Chicago unit were: "It Can't Happen Here"  of their interpretation of this play by Sinclair Lewis, Hallie Flanagan had to say; "I felt that it was stronger than the one presented in New York." "Spirochete" by Arnold Sungaard, a living newspaper which the Chicago Tribune called "a valuable contribution to the anti-syphilis campaign", delt frankly with the problem of sexually transmitted disease. "The Lonely Man" with John Huston as the reincarnated Abraham Lincoln. Ted Ward's "The Big White Fog" was about an African-American hero and his white friend organizing in order to overcome oppression.  "The Swing Mikado", a jazz rendition of the Gilbert & Sullivan operetta  adapted by Harry Minturn, it became the most popular show produced by the Chicago Unit. "Oh, Say Can You Sing", by Sid Kuller & Ray Golden, an irreverent satire of bureaucracy of the FTP. The Show made FTP history by being the first Chicago production to have a 17 month run.

The Chicago Federal Theatre Project built confidence within the growing theatre community and gave many Chicago theatre artists a chance to hear their own voice, a voice that spoke with a pronounced Chicago accent.

The Mother of All Improvisation

Neva Boyd

Improvisation, the concept of creating scenes or entire plays based on an outline, had it's origins in Commedia del'Arte. Actors assumes one of six stock characters, becoming so studied in the character's trait that they were able to enact plays while improvising the plot. Since that time Chicago has become most closely associated with this form of theatre. Though Second City has become an icon in Improvisation, without the groundbreaking work of Neva Boyd that institution would likely not exist.

Neva Boyd, a leader in the children's theatre movement, founded the Recreational Training School at Chicago' Hull-House. She conducted workshops that emphasized play as a learning discipline.

Viola Spolin

Boyd taught children and adults games that stimulated creative personal expression through self-discovery and personal experience. Of her games she had this to say: " Playing a game is psychologically different in a degree but not in kind from dramatic acting. The ability to create a situation imaginatively and to play a role in it is a tremendous experience, a sort of vacation from one's everyday self and routine of everyday living."