Most of the victims died on the stairs leading from the gallery, although some escaped by jumping from the windows into the street below. Henry Irving sent a donation of a hundred pounds towards a fund for the relatives of the victims.
Inadequate ventilation was found to have contributed to the cause of the fire. A rope in the rigging loft came into contact with the border-lights and caught fire.
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As the fire spread, a panic broke out and, the safety exits being closed, a jam resulted in the corridors. Many persons jumped to the street from the windows, others followed landing on top of those lying wounded and killed in the street. Sailors and marine soldiers in the upper gallery were claimed to have used their knives to kill persons blocking their exit.
A fire at a Charity Bazaar held in a theatre in Paris cost one hundred and twenty-four lives with over two hundred injured. An investigation reported that none of the exits had been indicated and untreated velaria canvas awnings had covered the whole of the underside of the roof, contributing to the spread of the fire. Taking notice of this event, the London County Council instructed its Theaters and Music Halls Committee to prepare a report on what security was afforded by the existing law to protect the public against fire and panic in similar gatherings.
Dismayed at being informed that its powers were in fact very limited, the Council then sought legislation to license any establishments to which the public were admitted.
The forensic sciences in the Edwardian period were not nearly so advanced as they are today, and in not a few cases the exact cause of a theatre fire would never be uncovered. This was due largely to the rapidity with which the flames spread among the vast mass of combustible material and to the totality of the devastation it commonly resulted in.
The best information about the causes of theatre fires was of course derived from those fires which broke out during a performance, and to which there were ample witnesses to report where the fire had started and how it had spread.
But these types of fires are, for obvious reasons, also the most dangerous and could lead to deplorable calamities. The majority of those fires that did occur during performances broke out on the stage, and most were due to open and unprotected, or insufficiently protected, lights in too close proximity to, or amidst a mass of, unprotected and highly inflammable scenery, draperies, gauze, ropes, and woodwork.
Among numerous other causes, the following all posed significant fire risk:. The 'Reform Movement' of the Edwardian period naturally caused the vexed question of protection from fire to be closely scrutinised. As a result, great headway was made in the development of protective measures against the rise and spread of fire in theatres.
As a result, amongst other innovations, the first system of street alarm posts was introduced. Even so, a fire at the Alhambra Theatre, Leicester Square, two years later almost claimed the life of an amateur fireman under a collapsing wall. One important innovation was the introduction of carefully made and easily worked fire-resisting curtains - made of substantial but lightweight construction. On the Continent metal curtains were favoured, but in England a double asbestos curtain was more common. The London County Council preferred a steel framing with asbestos wire-woven cloth on both faces, the intervening space being well filled with slag wool.
Such curtains were somewhat heavy and required careful counter-weighting to operate easily, but if well made and fitted provided a substantial barrier against the spread of fire and thus made a significant contribution to audience safety. They were not infallible however, as was soon to be demonstrated by events across the Atlantic.
The theatre was filled to a capaciy for the matinee performance of the musical comedy "Mr. Bluebeard", starring comedian Eddie Foy. Rehearsals for the actors portraying athletes incorporated grueling training, including lengthy runs, with a British Military Fitness instructor. In the film, screenwriter Colin Welland anchored the period story to the present by opening with Harold Abrahams' memorial service. In Mike Bartlett's play, the story is anchored to the present by beginning the piece with 15 modern athletes doing a warm-up, "which turns into a training session, which suddenly evolves into Lord Lindsay and Harold Abrahams.
Bartlett also used theatrical techniques to allow the play to "tell two stories at the same time, and show links between them and metaphors and parallels", using the Eric Liddell story to talk about Harold Abrahams and using Harold to talk about Eric. Director Edward Hall stated that, in addition, "In theatre you can take components of the story and analyse them narratively in different ways. So you can stretch or freeze a moment in a race Also in the play, the very fit ensemble cast and extras are not only utilized for running and racing, but also are frequently employed in singing as well.
Chariots of Fire opened officially on 22 May , and received positive reviews from major critics in major UK publications.
Libby Purves of The Times wrote that "even this grumpy Olymposceptic was brought to actual tears, moved to empathy and understanding by the fabulous theatricality of it. Quentin Letts in the Daily Mail deemed the play a "stirring production" and "thrilling", and gave it five stars, adding of the two leads that, "Both actors are splendid.
He summed up the play as "a joyful antidote to the modern Olympics", "a real summer high", and "surely one of the great treats of the summer". Ian Shuttleworth in the Financial Times praised Edward Hall's "considerable adroitness" in directing what he deemed "a fine Olympic-season project". He also noted approvingly that Hall's "kaleidoscopic pageant" of a play is bound together by music, including Gilbert and Sullivan numbers, Scottish bagpipes, a medley of British folk tunes, and the iconic Vangelis theme.
Andrzej Lukowski of Time Out wrote, "This lavish stage adaptation Lukowski praised Bartlett for his "funny, pithy and creative" script, and summarized the production by asserting it is "a spectacle". The Independent noted that, in a play about competition, "what eventually emerges as the really engaging battle of wills is that of Abrahams and Liddell versus the British Establishment — ironic, as they each strive to shine for king and country.
This is an unmissable theatrical offering in the year of the London Olympics. Many reviewers commented on the intense, often breathless, physicality of the production. The high-speed running around the perimeter of the auditorium and through the audience reminded some of Starlight Express ,  and Mark Lawson on BBC Radio 4 's Front Row evoked the recent hit play War Horse as a comparison to the Chariots play, adding that "It's such an unusual theatre show!
Henry Hitchings in The Evening Standard deemed the play a "stirring crowd-pleaser" and "a potently realised spectacle", concluding that while "undeniably bombastic fare", "energy and conviction make Chariots of Fire a satisfying experience. He emphasized in addition that "the meat of the drama" is the "gripping human confrontation being played out at its centre, in which two young men from very different backgrounds The CD length is minutes, and includes three tracks previously released on the movie soundtrack , two of which are slightly updated.
All other 11 Vangelis tracks are newly composed specifically for the stage play. From Wikipedia, the free encyclopedia.
Like playing garage rock, then rock stoner and then soul, funk…Just to please others. Occupational safety and health regulations state that the safety curtain must be able to resist fire and thereby prevent or at least hinder fires starting on stage from spreading to the auditorium and the rest of the theatre, reducing injuries to audience members and members of staff. Water evaporation in coal can also lead to the decomposition of peroxide complexes that will accelerate combustion. A new approach to control a serious mine fire with using liquid nitrogen as extinguishing media. Amsterdam Breda.
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