New-York tribune., 1900-12-08
THE THEATRE.
HOW TO MAKE 1T A SAFE AND COM
PORTABLE BUILDING.

THEATRES THEIR SAFETY FROM N FIRE rTRs 4 AMP I'M,
PANIC THEIR GT039,lidro rO1I po,I 4 Gerhard. C. f.
octave, pp. no. Boston: Bates & Guiid 60
The reader of Mr.. Gerhard's book Is hSeiS Ai
first to be stricken with dsmay at the apparent
in,possibiIity OF the construction OF 'theafe
wherein one can afford to risk ones life and
health by attending performance The re-
quirements which he lays down as essential l'r
the making Of a theatre what 1t should be seem
so many and so complicated as 10 preclude all
bona of their ever being realized. But as the
author goes on IT proves that the most that ne
desires is not only not impracticable, but mas
been in many cases largely realized. Ne"-
Workers will also be pleased TO learn lhat 'he
theatres OF this city take decidedly good rank IN
point of safety among the theatres of the world
In his discussion of safety from fire the author
considers means Of escape from the house. meas
ures for preventing and detecting outbreaks
protection against fire and smoke means OF con-
filming a fire to the stage. means OF saving life,
ways OF fighting fires and measures to guard
against panic. He regards means Of rapid
escape as the most important of all. and the
planning Of the building to that end as of more
consequence than the Of freproof material
Every theatre he maintains. ought to be so
built that it can be emptied within three or four
minutes and he believes that this one precau-
ton is enough TO save all lives. although a fire
may become fatal within five minutes after its
discovery. Examples quoted to show the
possibilities in this respect. The Bayreuth
Opera House can be emptied in two minutes; the
Fifth Avenue New-York in two and half
minutes; the Knickerbocker in one and one
half (the record; Keiths in Boston, in four, and
the Madison Square Garden I'm four and half.
The chief means this end are. of course,
straight passages and stairs and numerous exits.
Attention to this particular measure, however,
by no means implies the neglect Of others. Mr..
Gerhard would have everything about theatre
hreproof. Every part of the structure should
be So and woodwork. scenery and costumes
should all be treated with chemicals. For fire
curtains the author regards asbestos. used in
most of the New-York theatres, as a better ma
terial than iron. The general introduction of
electric lighting has removed one great source
OF danger that of fires starting from gas jets.
but it has brought with it another, in the case
of defective wiring. and it the electricity
itself that set the Theatre Francais on fire. In
consequence OF this fire.. the fact became public
that no systematic watch is kept for fires in
Paris theatres except while performances are
going on. It is certainly impossible for a per-
son who knows the New-York theatres to visit
those of Paris without being impressed with the
fact that they death traps. In a summary
of the requirements for safety from fire, the
author enumerates free or isolated site for
the theatre open courts at the sides of the build
ing. clear planning wide. unobstructed exits.
doors opening out. separate lighting of passages.
fire walls between stage and auditorium, fire.
proof curtain, fues for carrying Off smoke from
the stage electric light, fire watch and inspec-
ton, lightning rods, automatic sprinklers, ready
means of signalling and fire resisting construc-
ton.
When the question Of sanitation is reached
the reader is likely to be more astonished than
before He is told that actual analysis OF the
air in many theatres has shown 1t to be far more
impure than that Of well regulated sewers. The
author gives a table of analysis Of air in several
Neyy-York theatres which would be no less than
terrifying were it not for the happy fact that
the table was made twenty-seven years ago.
when the use Of gasIights accounted for at least
two-thirds of the vitIation of the air. and the
respiration Of the audience for not more than
one-third Several of the theatres themselves
IN the list are no longer in existence. Among
the newer theatres, Mr.. Gerhard admits, there
are some which are we'll ventilated. his severest
remarks applying TO old houses. He discusses
systems of ventilation but grants that the prob
Iem as applied to theatres, presents some speciai
difficulties and that it's satisfactory solution Is
matter OF considerable expense. 1t is not
enough merely TO blow sufficient air into thea
tire to keep 1t fresh, for draughts must be avoid
ed and in summer the air must be cooled and
in winter warmed. while different persons In
the audience disagree as to the proper temper
ature When the house is full a tremendous
0uantity of air must be brought in constantly,
and TO heat it as rapidly as il is needed is no
small matter either with regard TO the room
reoured for the machinery to the cost In
this matter of ventilation the Carnegie Music
Hall and Hoyt's Theatre are mentioned as ex-
ampIes Of successful achievement. II is in the
presence OF germs that the air of theatres Is
so reprehensible in comparison with that of
sewers These are greatly promoted and fos-
tered by curtains, plush hangings and uphol-
stery and carpets. The author recommends that
all these be done away with as far as possible.
nut he would admit mating between the rows
OF seats and in the asles, to be frequently taken
M and cleaned. The conditions behind the
scenes. and particularly in dressing rooms are
a considerable offence to him.