ChicagoRound: 1903 Iroquois Theatre fire

Chicago emerged from its devastating Great Fire on October 10, 1871, after a two-day conflagration that destroyed 17,500 buildings over four square miles, left 90,000 of the city’s 300,000 inhabitants homeless and killed an impossible-to-quantify-accurately 200–300 people.

And the city immediately began rebuilding.

Thirty-two years and two months later, after rising both literally and proverbially from its ashes to reclaim its place as one of America’s most populous and vital cities, Chicago was devastated by another fire … this time in the month-old, state-of-the-art, “fireproof” Iroquois Theatre.

When it opened on November 23, 1903, the Iroquois Theatre was hailed as an architectural masterpiece and a jewel in the crown of Chicago’s theater scene. Designed in the highly ornate French baroque style, it featured grand staircases, gilded ornamentation, lush velvet curtains and a 6,300-square-foot domed auditorium with a dropped stage to improve the sightlines from every seat in the house. And though it was billed confidently as “absolutely fireproof,” the Iroquois contained almost no fire-safety features. No fire alarm. No backstage telephone. No labeled fire exits (most exits were hidden behind velvet curtains by theater managers who didn't want them to look ugly). Even its supposedly fireproof asbestos curtain was made of a highly flammable wood pulp. (Fewer than ten years later, the “unsinkable” Titanic would succumb to a similarly overconfident hubris.)

The theater’s opening production was a touring musical pastiche called Mr. Bluebeard, which featured a 400-person cast and starred popular Vaudeville comedian Eddie Foy. It had enjoyed critical and popular success for over a month when its December 30 audience filed in on a freezing Wednesday afternoon during the break between Christmas and New Year’s Day. Since the theater’s opening had been delayed repeatedly, its owners were desperate to make up for lost revenue, so they habitually oversold the house, seating extra patrons up and down the aisles in the orchestra and balconies.

The fire started at the top of Act II when an overhead stage light shorted and sent sparks leaping to a nearby curtain. As the fire spread through the flylines and burning bits of scenery rained down on the stage, the actors continued soldiering through their performance, confident in their understanding that the theater was fireproof. A handful of people in the audience got nervous enough to leave, but many chose to stay in their seats (or aisles) until it became obvious the fire was not going to be contained.

And then panic set in.

The ensuing stampede up overcrowded aisles through an unfamiliar theater with hidden exits left trampled bodies everywhere. And since most of the Iroquois exit doors opened inward, the bodies piled up in front of the doors, leaving no hope of escape.

The actors, too, created their own stampede to find exits. And when they finally pried open the giant freight door on the north end of the stage, the arctic winter blast that blew into the building combined with the fiery gases above the stage to create a superheated fireball that exploded into the auditorium and incinerated everything in its path, including hundreds of people still in their seats.

Many of the people who did manage to get out of the building found themselves trapped high in the air on unfinished fire escapes. As these fire escapes got more and more crowded, people begin to fall (or jump) to their deaths in the alley below. By the time the fire was over, bodies were piled 10 deep in what is still called to this day Death Alley.

Though it was contained to one building and it burned less than an hour, the fire killed over 600 people (twice the number killed in the two-day Great Fire of 1871), shut down theaters around the world out of fire-safety concerns (leaving thousands of actors and theater employees unemployed), generated worldwide outpourings of sympathy, exposed yet another Chicago corruption scandal in the years of ensuing lawsuits, and ultimately brought about great changes in the way we respond to massive disasters and catalogue and identify disaster victims. It even inspired an Indianapolis hardware salesman named Carl Prinzler, who randomly had to miss the deadly performance, to invent what he called the Self Releasing Fire Exit Bolt once he learned that a disproportionate number of victims had died in desperate piles in front of the inward-opening exit doors with confusing European-style bascule locks. Known today as the “panic bar,” his invention—along with outward-opening exit doors—are perhaps the biggest public-safety legacy of the Iroquois disaster.

Today, the stunning Asian-baroque James M. Nederlander Theatre (built in 1926 as the Oriental Theatre until its name was changed in 2019) sits pretty much on the exact footprint of the Iroquois Theatre. A thriving part of the Broadway in Chicago theater collective, it features touring productions that play year-round to thousands upon thousands of theater patrons who largely have no idea that they’re sitting on a historic graveyard of sorts. To my knowledge there isn’t even a memorial on the property commemorating the fire.

There is a memorial about three blocks away, in Chicago’s classical-revival City Hall building. Designed by Chicago sculptor Laredo Taft, the bas-relief plaque currently sits above a glass column that houses a revolving door, so it’s both hard to see up close and hard to photograph, especially with an iPhone.

Thankfully, it’s accompanied by an eye-level plaque that explains it context and memorializes the 600 lives lost on December 30, 1903, in one of the worst theater disasters in history.

Timber!

Eight years ago today—two years after leaving the hospital and just hours after taking the very first dose of yet another new bipolar med added to my ever-evolving cocktail—I stood up from a chair, walked a couple steps, blacked completely the hell out, fell Timber! onto the tile floor (which I cracked with my face because GO BIG OR GO HOME), shredded myself eyebrow-to-chin on my shattered glasses, bit most of the way through my lip, loosened some teeth, got a concussion, and woke up in my sister's car holding a huge bloody rag to my face too confused to remember that Christmas had happened (or, for just a few glorious moments, that I was even bipolar) as she rushed me to the ER, where I looked so brutally horrifying that the nurses assumed I was the victim of a violent assault and three police officers were dispatched my room to question me well before the doctor showed up to assess the damage, declare me not dead and give me double-digit stitches.

I came home covered in swelling and bruises and scabs and stitches and glue—after telling the ER doctor in my foggy haze that my modeling days were over and I didn't care if he left scars all over my face but I vaguely remember him informing me that he still had a professional obligation to do his best—and filled eyeballs-to-spine with a deep, not-for-amateurs headache that brought crippling new levels to my understanding of pain ... and yet I still found a way to take time out of my busy schedule for a quick selfie to document the occasion for future biographers. (You're welcome, posterity!)

This Timber! event was directly linked to my new drug (called Fetzima, who sounds like a possibly immodest resident of the Anatevka demimonde in Fiddler on the Roof) that, as with all psychotropics, came with an alarming list of ramp-up side effects ... including abrupt blackouts. But I knew from a decade-plus of trial-and-error experience that I needed to tough out the first three or four weeks until the side effects subsided and the drug's level (or not level) of efficacy manifested (or didn't manifest) itself.

And despite its hyperdramatic entrance into the madcap musical of my life, Fetzima more-or-less quickly proved itself to be perhaps the drug that effectively balances my serotonin and norepinephrine and keeps me (more or less) stable and engaged and functional and capable and able to go to work and do shows and take care of my parents and run races and do handyman projects (quite well, if I can toot my own horn, which I shamelessly will) and practice the piano and buy shoes and buy more shoes and here I am eight years later, scar-free (thanks, conscientiously ethical ER doctor!) (though it took a good six months for the scars to heal and the scar tissue where I bit through my lip to subside to the point that I could drink out of a straw again) and concussion-free (pro tip: you DO. NOT. EVER. want a concussion), and clearly in possession of an added year's mouth wrinkles and silver foxiness.

[Super-fun side note: Aetna, in its infinite wisdom, abruptly stopped covering my Fetzima for two years and summarily rejected all three of my doctor’s allotted appeals. Because apparently risking sending me to the psych ward for another week was far more cost-effective than covering a proven psychotropic. So my doctor hoarded samples for me in the hope that Aetna would finally get its head out of its fetz (which it finally did last year) and/or Fetzima’s patent would expire, it went generic and it stopped costing $700/month out of pocket (which has yet to happen).]

Anyway, if you're inclined, raise a glass and yell Timber! in my scab-free, concussion-free, fog-free, not-functional-free honor today. I'm gonna go out and keep living. Timber!

Emma and the Aase

If you were making a move about sensible, salt-of-the-earth people and called Central Casting and said “Send me an old, stoic, self-sufficient Norwegian bachelor woman who can repair a roof and bake paper-thin sugar cookies all in one day … oh, and also who can terrify her sister’s young grandchildren at night because she looks like a floating Victorian ghost when she leaves her hair down,” you’d promptly have the white-haired, durably assembled Emma Christina Nystrom show up at your door in her homemade plaid cotton house dress.

Emma was my mother’s aunt, but she was always Aunt Emma to everyone from every generation in our family. She was part of a long line of my Norwegian forebears who practically built the entirety of Northeast Iowa, particularly Decorah and the sleepy bedroom-and-once-booming-train-hub community of Calmar just south of it.

My sister and I were kind of scared of Emma when we were kids. She wasn’t terribly demonstrable or huggy, she never told fart jokes, and she was completely deaf, which made it extremely difficult for us as kids to warm up to her.

A true child of the Depression, Emma never wasted a thing. She ate entire apples—even the cores, which kind of grossed us out. She turned her old dresses into quilts and eventually the quilt scraps became painting rags that she washed and reused until they crumbled into nothing.

 
She even darned her stockings and later her pantyhose, which made her look like she had alarmingly dark varicose veins running up and down her legs.

When her parents and grandparents (who only spoke Norwegian) got to the point that they needed constant care, Emma dropped out of business school to care for them and her younger siblings. And she never went back. She also never married, so she lived in Calmar her entire life caring for everyone and eventually for the house that her father had built and various generations of her family had lived in for almost a century.

Now, we Norwegians are of sturdy stock. Emma outlived her siblings and pretty much all her friends, and by the early ‘90s when she had to leave the family home and move into the nearby Aase Haugen Home For Sturdy Norwegians Who Are Finally Starting To Need Constant Care But Who Don’t Want To Burden Their Families, she was also in her 90s.

 
We drove up to Decorah to visit her in The Aase (as the locals and residents called it) as often as we could over the next few years. But her spirits were failing as fast as her body. She complained that all her friends and her entire family but us had died. She complained about the people assigned to her table at dinner time. She complained that she was just tired and was ready to go.

I was recently out of college and finally living in my first house about a mile from my parents. And in 1995 on Christmas Eve Day as we were busy cooking our traditional Norwegian Christmas meal at their house, we got a call from The Aase: Aunt Emma was failing fast and they didn’t expect her to last the night.

So Mom and I got in a car, left all the cooking and baking and table-setting and guest-entertaining to my dad and sister, and made the two-hour drive up to see her as snow gently covered all the Iowa farms and towns in sparkly white.

When we got there, Aunt Emma was in and out of consciousness and looking like she was indeed at death’s door. So we held her hands and adjusted her blankets to make her comfortable and sang Christmas carols with her.

 
At one point, we were finishing what we thought was the final verse of “Silent Night,” but Emma clearly knew the song better than we did because in her fog she barrelled into a final verse we only barely recognized. We did our best to sing along though. But only so she wouldn’t judge us in the afterlife.

As it got late, I realized we had no Christmas Eve dinner for the three of us to enjoy. The Aase’s kitchen had closed, so I jumped in the car and started driving around Decorah (in the prehistoric days before GPS phones and even Mapquest) to find something for us to eat.

You’d think a grocery store in a very Norwegian town would have Norwegian favorites in stock on Christmas Eve, but you’d be wrong. So I had to improvise: pre-packaged cups of Christmas-red Jell-O, Kaiser rolls (because Germany is in Europe so it’s practically the same as Norway) and cold cuts. It wasn’t much, but it would definitely become a memory.

But when I got back and we ate our bountiful feast, Emma started to rally. She was lucid and talking, and she and even the night nurse told us we might as well go home.

So Mom and I got back in the car and drove home through the snow-covered fields and little Iowa towns late on that Christmas Eve. We sang along with a “Messiah“ broadcast we found on the radio and talked about Emma and the end of an era she represented when she eventually dies, and we had a rather lovely time together.

But when we got home, everything was chaos … from a proper-Christmas-decorating perspective, and my sister begged us to never leave her alone with Dad on Christmas Eve again because he set the table like a toddler and made the Christmas trees on the Spode china crooked. CROOKED!

 
The next morning—Christmas Day—as we were finally enjoying our now-leftovers Christmas Eve dinner—ON CORRECTLY ORIENTED PLATES—we got another call from The Aase: Emma had died peacefully in her sleep that morning. And ever since then, her death has always added a poignant side note to our Christmas celebrations. But if you want to be remembered long after you’re gone—especially in a social-media post that gets re-posted every year in perpetuity—I recommend dying on a major family holiday.

Deaths are always sad, but Emma had certainly had a good, long run and we were all ready to let her go. And she was clearly ready to let go herself.

I don’t remember how we learned this next little tidbit because we certainly didn’t have the news on during Christmas, but we eventually found out about someone else who had died that same Christmas Day: Dean Martin. Boozy, handsome, king-of-cool Dean Martin had died on the same Christmas Day as prim, proper, sturdy, Depression-sensible Emma Christina Nystrom.

And as we pondered this odd little coincidence and mourned each person in our separate but very different ways, we all found ourselves asking the same obvious question:

What do you suppose Aunt Emma and Dean Martin are talking about as they wait in line together at the Pearly Gates?

Inpatient

After a year of unemployment in Chicago where I half-assedly looked for jobs and shuffled back and forth from Cedar Rapids, I more or less officially moved home ten years ago this month.

My bipolar disorder was escalating and I was seeing what I now understand was a hack psychiatrist (because how can you know what to look for and who’s competent when you’re new at finding mental health professionals and you’re crippled by a mental illness?) who kept prescribing medication after medication (including the anticonvulsant Depakote that I had NO business being on due to its highly problematic interactions with my Lamictal mood stabilizer) without following up or even letting me know what catastrophic side effects to look for. And my unmanaged Depakote cocktail was a living nightmare of day-long blackouts, terrifying hallucinations, and sleepwalking through what was thankfully benign but could have been fatal odd behavior.

Every psychotropic drug gives you temporary—sometimes awful—side effects as you ramp up on a new prescription and wean off of it when you find out it doesn’t work. And thanks to this doctor’s random changes of drugs and cocktails, I was in a constant state of up-and-down side effects that left me miserable and confused and unable to function in a multitude of ways.

On top of all that, I was newly single and living alone for the first time in seven years, which meant I didn’t have an extra brain in the house to remind me to take that litany of changing meds on their prescribed schedules.

So by the time I decided I was moving home, I was a mess. A catastrophic, dissociative, emotional-train-crash mess.

And as Christmas drew nearer and nearer, I found myself more and more overcome with panic and dread about holding myself together through our family activities, worrying that I’d ruin them for everyone and inevitably escalating even more.

I couldn’t breathe. I couldn’t think. I couldn’t comprehend.

I didn’t want to live.

So ten years ago today, my parents—my terrified, confused, helpless parents—and I together made the heart-wrenching decision that I needed to be hospitalized. Two days before Christmas.

The ensuing details are still hazy to me, but from what I can remember: I sobbed on our couch in Greek-tragedy emotional pain as I slowly wrapped my muddled brain around what I was about to do. Mom and Dad came with me to the emergency room. I was evaluated by a doctor. We were put in an empty holding room for four hours while they looked for an open bed, which they eventually—thankfully—found right there instead of in a hospital 200 miles away. We were taken to the mental ward where we first had to go through a room where Mom and Dad had to leave their coats and Mom had to leave her purse.

When we got in, I had to forfeit my coat and clothes and phone and basically everything but my glasses. I was given scrubs and hospital socks. I met privately with a doctor, who took me off every drug I was on and prescribed yet another new cocktail of drugs. Which meant more simultaneous ramping-up-and-down side effects.

And when I was finally done being triaged, I was given an opportunity to say goodbye to my parents and then I was escorted to my room.

I made one last look back as I was halfway down the hallway, and the looks on my parents’ faces—their anguish, fear and inconsolable sadness—will be forever seared in my memory.

And so will my feeling of complete, comforting relief from accepting the fact that all of this was bigger than I was, I could finally release the demons fighting inside me, and I was in the protective, hopefully healing care of people who could manage whatever it was that was tearing me apart.

Ten years ago today I launched into an unknown of what ended up being a full week in a locked mental ward in a hospital.

Ten years ago today I started yet another roller coaster of the disorienting, miserable side effects of changing medicines.

Ten years ago today I finally knew I was safe from myself, I was being cared for by experts, and for some reason what I found to be the most important: I wouldn’t ruin my family’s Christmas. I knew that not being there would be disruptive. But I also knew that being there would have been even worse.

Ten  years ago today, I started what would still be a long, bumpy road to healing, but I knew I was at least on the road to healing. It was one of the worst things I’ve been through and one of the best things I’ve ever done.

If you’re struggling with the out-of-control pain and confusion of mental illness, please know there’s no shame in asking for help—even to the point of being hospitalized—and putting yourself in the focused care of others.

There most likely won’t be immediate healing. But there will be hope. For you, your family and your support network.

There will be calming, restorative, essential hope.

Thirty-six years ago today ...

I’d finished my classes for the semester and my dad had come to pick me up from college for the holiday break. 1988 had been an emotional roller coaster for our family. We’d lost four family friends in a small plane crash Easter morning, my mom had undergone a radical mastectomy in October and she was just starting her first rounds of chemo before Christmas. I was in the middle of my junior year in college, and I’d finally found a major I was willing to stick with: English. But since I’d waited a full two years to admit to myself I always should have been an English major, I had a lot of catching up to do. And my first-semester courseload had been heavy.

December 21 is the winter solstice—the day of the year with the shortest amount of sunlight—but it was beautiful and sunny in Eastern Iowa that afternoon in 1988. And Dad and I had a nice chat over the 40-minute drive home. My family has always been close, so when we saw Mom standing in the driveway as we pulled up to the house, I figured she was just excited to see me.

But she was sobbing.

I assumed she’d gotten some bad news about her cancer while Dad was gone, so I jumped out of the car before it even came to a stop and I ran up to hug her. But the bad news was something entirely different ... something so random and so unexpected that the shock of the words literally didn't make sense to me: Miriam’s plane had gone down.

Miriam was a friend of mine who had spent the 1988 autumn semester in London studying under the auspices of Syracuse University. I’d just visited her over the Thanksgiving break, and we’d had an awesome time seeing the sights, exploring the museums and taking in all the shows we could afford on our college-student budgets. Among the four we saw were Les Misérables and what ended up being a definitive revival of Stephen Sondheim’s Follies. Sondheim was just starting to appear on our collective radar, and we both agreed that seeing Follies together was a mountaintop experience for us to have shared over our magical week together in London.

But by December 21, I’d come home, a whole month had passed and I’d been so caught up in my finals and holiday preparations that I’d had no idea Miriam was flying back to the States that day—much less what flight she was on. Neither had my mom. But our friend Jody in Ohio did. And when the initial reports that Pan Am flight 103 had disappeared out of the sky over Lockerbie, Scotland, started washing over the newswires, Jody had called everyone she could think of.

Mom and Dad and I raced to the family room and crowded around the TV that crisp, sunny Iowa afternoon to see what we could find out about Miriam’s plane. It was the early days of CNN and 24-hour news, so we were able to get (spotty) information right away about the mysterious crash, along with grainy images of the wreckage shining dimly in the emergency lights that were working so hard to pierce the solstice blackness six time zones away. Dimly seeing what we could of it and haltingly learning more and more about it over the next hours was at once horrifying and comforting, filling us with both hopefulness and helplessness.

Over the next few months and weeks, the world came to learn about the bomb, the Libyans, the retribution, the embargoes, the bankruptcies. We cautiously wrapped our brains around the unthinkable efficiencies of global terrorism at the dawn of the Information Age. And the friends and families of the victims of the 103 bombing started experiencing the bizarre dichotomy of watching our personal tragedy play itself out on the world stage.

In the years since Miriam’s murder, I’ve befriended her parents and friends. I’ve gotten in touch with the roommates she lived with in London, none of whom had been on her plane with her that day. I’ve written pieces about my relatively removed perspective on the bombing that were published in newspapers and scholarly journals and read on NPR. And since I had been in London and had hung out with a lot of the murdered Syracuse students a month before the bombing, I’ve actually been interviewed by the FBI.

And as I’ve grieved and matured over the last thirty-five years, I’ve discovered that I now tend to be efficiently emotionless when I learn the details of catastrophic tragedies like the 9/11 attacks and daily mass shootings and our catastrophic global pandemic ... though I’ll still burst into tears over emotional pablum like Christmas cookie commercials.

Thirty-six years ago today, the world learned what a volatile mix misanthropy and religion and blind nationalism can be in a global melting pot.

Thirty-six years ago today, Miriam and her fellow passengers and their families and friends learned violently and unwillingly about harsh brutalities that the rest of the world got the relative luxury of absorbing over time.

Thirty-six years ago today, I learned that the distant tragedies that so often happen to “other people” should never be observed as abstractions.

I discovered that news of plane crashes and acts of terrorism that play endlessly in 24-hour news cycles can be both disturbing and strangely comforting. I learned that life is precious, that there are no guarantees, that people who waste your time are robbing you of a personal and very limited possession, that small gestures can make heroic impressions, that your pain and suffering and anguish and heartbreak both do and don't make you special, that no matter how bad it gets you should work to find solace in the fact that it will probably get better … or at least easier.

Thirty-six years is enough time for someone to raise a child and send him or her off into the world. Enough time for nine presidential elections and five new Sondheim musicals. (Seven, if you count Saturday Night and The Frogs.)

It’s enough time for a gangly, unsure college boy to cycle through five cars and eight houses and eight jobs and three cities as he grows into a successful (more or less), confident (more or less) man.

It’s enough time for him to realize that the world is not fair. That bad things happen to good people. That the bad people who did them don’t always get punished. That horrible tragedy gets easier to accept over time, even though it remains impossible to forget. That the hate that some people burn into your heart never entirely leaves ... and that the smug, satisfied self-righteousness you experience when you finally see images of the bloodied, abused corpse of Moammar Gadhafi—who denied to his last hopefully excruciating, terrified breath every credible report that he'd ordered the Pan Am bombing—feels powerfully good.

I often wonder what Miriam would be if she were alive today. Tony-winning actor? International journalist? Have-it-all mom? She was among those people you just knew were going somewhere big with their lives. I’m sure that wherever the fates would have taken her, she’d be someone people knew about.

I also wonder if we would still be friends. We’d met that summer when we were singing and dancing in the shows at Darien Lake amusement park just outside Buffalo, New York. Our friendship lasted just seven months until she was murdered. I’m only barely in touch with the other friends I made at the park that summer. Miriam’s family and I aren’t in touch nearly as much as I’d like either (though her mother recently published a book of Miriam's writings along with essays from people who knew and loved her, including me).

Would Miriam and I have drifted apart as well?

Since at this point I’m the only one in control of our story, I choose to believe that by now I’d have sung in her wedding and befriended her kids on Facebook and marched in pink hats with her in Washington and lost countless hours texting ridiculous cat memes back and forth with her.

And I’m pretty sure she’d have written the same story for me if our fates had been reversed.

Thirty-six years ago today was the last, devastating act in a year that had shaken—and strengthened—my family to its core. It was the day my worldview changed from naive to guarded, from optimistic to cynical, from insular to secular.

It was the day my friend Miriam was murdered.

And it was just another day for most people.

And though the world continues to spin forward—as it should—and people’s memories continue to fade—as they do—I will never forget.

I'm dreaming of White Christmas

White Christmas is the dumbest, plot-hole-iest, staggeringly-implausible-storyline-iest movie ever made—and I adore every second of it. I used to host a party every year in Chicago and invite only the friends I knew were able to shut up for 120 minutes so we could all enjoy its ridiculous awesomeness together in peace. And then I usually watched it again on my own. And maybe one more time. I have yet to watch it this year, but when I do I might invite a few devotees to watch it with me who can do it QUIETLY AND RESPECTFULLY.

All that said, it still drives me NUTS that Rosemary Clooney runs (well, clomps in four-inch stilettos) away from Bing Crosby in a self-righteous fit over a laughably stupid misunderstanding that she could easily clear up with a simple question and then boards a train with a little satchel in which she's packed all her clothes, wigs, makeup, gowns, those ridiculously slouchy white sequined oven mitts she wears in "Love, You Didn't Do Right By Me" plus four of the Vermont dancer boys. And then she happily—yes: happily, despite the white-hot fury she had about Bing's appearance on TV that was so toxic it prompted her to sneak away from Vermont in secret—watches Bing's appearance on TV, suddenly has a mis-misunderstanding revelation, sneaks back to Vermont in the dead of night with her sensible orthopedic Army-issue oxfords in tow, ties up her understudy and throws her in a pile of horse manure (probably) and somehow absorbs all the "Gee, I Wish I Was Back in the Army" choreography out of thin air from some secret backstage rehearsal room in that drafty barn that apparently a cast of 1,000 people had mysteriously never even known about.

But those gowns!

And don't get me started on that overplayed "Sisters" number—it sure gets a LOT of mileage for having only one verse and an enormous dance break where Rosemary and Vera-Ellen basically just stand on stage and smile dewily at Bing and Doofusface (also: Don't get me started on Danny Kaye, the poor man's Donald O'Connor) while presumably the rest of the audience watches and thinks they're being somehow entertained by all that standing around.

But those gowns!

And Bing Crosby somehow croons “Count Your Blessings Instead of Sheep” after chugging a throat-gagging quart of buttermilk and Danny Kaye sings a COMPLETELY random song called "Choreography" even though he dances like an ostrich going through a middle-school gangly-boy phase and that mercilessly repetitive "Mandy" song has about eleven words that are all stupid and WHAT THE HELL IS THAT “MR. BONES” SONG? (It's a horribly racist throwback to minstrel shows, that's what it is.)

But those gowns!

From the Department Of Lies About Cute Boyfriends I Would Totally Date: Rosemary Clooney's and Vera-Ellen's "ugly" brother Benny (the one Bing Crosby unimaginatively calls "freckle-faced Haynes, the dog-faced boy" when they show him Benny's photo) is actually super-cute Carl Switzer, who had played Alfalfa in the Our Gang/Little Rascals films. So calling him ugly is nothing but CHRISTMAS LIES AND HOLIDAY PROPAGANDA.

But those gowns!

Did I mention Rosemary Clooney's ridiculously slouchy white-sequined oven mitts that turn "Love, You Didn't Do Right By Me" into a very fancy Easy-Bake Oven infomercial? I think I did, though they can never be overmocked. You should definitely call the police every time you see them.

But those gowns!

Special mention also goes to that fingernails-on-chalkboards “Snow” number where Vera-Ellen sings in clearly not her own voice about washing her hair with snow—which, I’m sorry, would be completely ineffective and unhygienic—and then they all make some grade-school-art-class mountains-and-pine-trees diorama that they shake some kind of readily-available-on-their-cramped-club-car-table fake snow on and every time they do it my mind goes right to the scene in The Breakfast Club where Ally Sheedy shakes her own dandruff on a drawing to make it look like it’s snowing.

But those gowns!

And then Vera-Ellen—who does the entire movie in funnel-collared outfits tailored to hide whatever the hell is wrong with her neck—descends from the sky in her tearaway Ostrich Barbie outfit and executes some wicked nerve taps WITHOUT EVEN WEARING TAPS, A FACT THAT SHE DISPLAYS REPEATEDLY AND UNAMBIGUOUSLY TO THE CAMERA.

But those gowns!

And the general is clearly on a laudanum binge in the attic of his hotel-theater as every U.S. war soldier past, present and future swarms all over the entire property and fills every hotel room not already taken by the swarm of singers, dancers, directors, and costume and tech crew members, and when they all finally surprise him they seat him at the table of honor behind a three-foot-tall cake that completely blocks his view of the show that they put together ESPECIALLY FOR HIM TO SEE.

But those gowns!