Safe Stages Part Two: Best Practices Contents 1. · Safe Stages Part Two: Best Practices DRAFT 2...

Safe Stages Part Two: Best Practices

DRAFT 2 November 2006 November 23, 2006 Page 1 of 40

Contents

1. Introduction

2. Physical Hazards• General Safety Precautions

o Slipping/Trippingo Storageo “When the Lights Go Out”—Focus, Level Set, Cue to Cue, Technical and

Dress Rehearsals and Running the Show• Venues• Strike• Design and Build• Rehearsals and Performance• Stage Combat• Weaponry• Electrics• Pyrotechnics• Working at Heights

o Openings, Guardrails and Toe Boardso Fall Protectiono Ladderso Personnel Liftso Scaffolds

• Rigging• Tools and Equipment• Locking Out• Vehicles• Materials Handling/Lifting• Ergonomics and Repetitive Strain Disorder• Noise in the Workplace• Working Alone

3. Chemical Hazards• Workplace Hazardous Materials Information System (WHMIS)• Atmospherics

4. Biological Hazards• Laundry• Makeup

5. Psychological Hazards• Violence in the Workplace



1. Introduction

The information in this section was compiled from various sources, including extensiveconsultation with members of the Alberta theatre community. Our special thanks to thefollowing organizations/individuals whose material and information is extensively referenced:

SHAPE (Safety and Health in Arts, Production and Entertainment)—various publicationsSteve Blackburn, Nick Kyle, Phil Conroy and Rob Peters—A Guide for Safe Working Practicesin the New Zealand Theatre IndustryTheatre Ontario—To Act in SafetyOntario Ministry of Labour—Safety Guidelines for the Live Performance Industry in Ontario, 3rd

Edition

Consider all the different departments, craftspeople and workers it takes to create and producetheatre. Consider all the different productions you’ve been a part of and seen.

While the work performed in rehearsal halls, production shops, backstage and during productionis as dramatically different as the workers performing the work, we do have similar hazards tocontend with and can employ similar methods of hazard elimination and control. Hazardassessment and control is the foundation of a safe and healthy workplace and is the mostimportant and basic step towards success in our industry. Refer to Part One for detailedinformation on hazard assessment and control.

This section provides an extensive overview of hazards (tasks, equipment and materials, workingconditions, etc.) that are encountered in many theatre departments during all stages ofproduction, and practical advice—“best practices”—on how to eliminate, minimize and controlthese hazards. Best Practices address engineering controls, administrative controls, safe workpolicies and procedures, personal protective equipment, safety equipment and other methods forensuring the health and safety of workers.

This section should be read and used in tandem with the OHS Code, and assumes that a properhazard assessment has already been performed at the worksite/for the production. Much of theinformation is not theatre-specific, and can and should be applied to all workplaces.



2. Physical Hazards

General Safety Precautions—OHS Code, Part 12

Legislated Requirements• Work sites must be kept clean and free of tripping hazards.• Materials and/or equipment must be placed, maintained or stored so it will not cause injury to

workers.• Work areas must be sufficiently lit.

Best Practices for Slipping/Tripping Hazards• Ensure adequate work and storage space for each department and worker.• Establish a safe work policy for the cleaning of all work areas on a regular basis and ensure

that workers have the supplies and equipment they need to keep their work areas clean.• Establish strict cleanliness policies for areas where tools and equipment are used. Clutter can

hide potential electrical hazards.• Cables, cords and hoses should be positioned in minimal traffic areas and always

covered/taped down to the floor or suspended from above.• Remove nails protruding from lumber.• Designers, production managers, technical directors, stage managers and directors need to be

acutely aware of the slipping/tripping hazards each set poses to cast and crew, especially as itrelates to blocking and complex choreography (backstage or onstage).

• Liquid residues formed from the use of atmospherics (smoke, fog, dry ice, etc.) can create aslick layer on onstage and backstage surfaces. Address this hazard in rehearsal and withappropriate footwear.

Best Practices for Storage• Do not place materials or equipment where they will restrict worker movement or block

aisles or exits.• Maintain accurate storage inventory (i.e. costumes, props, lighting equipment, etc.), store

items by category and stack items/shelves to prevent awkward weight distribution. Invest inrolling stepladders with railings for costume and prop storage facilities.

• Comply with Material Safety Data Sheets (MSDSs) and manufacturers’ requirements forstoring flammables and others controlled substances.

• Store flammable products away from ignition sources.• Do not store incompatible products side by side.• Mark storage locations with signs and warnings.• Keep product containers tightly closed and in an upright position when not in use.• Prevent product containers from being damaged.• When transferring products to new containers, make sure the container material is compatible

with the product and clearly labeled.

We all have storage areas where we keep what we think will be used again, what could berecycled, what we love too much to toss or what cost too much to obtain to ever throw away—Iinherited such a space. It was fairly tidy, although other departments also stored equipmentthere. One day I went into the storage room looking for some long forgotten article. The box I



was digging around in was on the bottom shelf. Unbeknownst to me there were 3 or 4 aircastors on the top shelf—a thick 6” x 6” steel plate with a pneumatic wheel attached to it cameoff of the shelf and hit me on the head, knocking me out. The carpenter in the scene shop belowcame to investigate the noise. He found me unconscious and called security for help. I receiveda serious concussion as well as soft tissue injuries to my neck and back. I experienced somedifficulty with numbers as the plate hit the side of my head where my brain stores informationabout math and dates. I was off work for quite a while and had to work on recovering the “lostnumbers” for nearly a year.

Best Practices for “When the Lights Go Out” (Focus, Level Set, Cue to Cue, Technical andDress Rehearsals and Running the Show)

One of the most basic principles of workplace health and safety is that all work areas be andremain well lit and free of trip hazards at all times. In theatre, however, much of the work isdone in the dark with any number of physical hazards present. Designers are almost alwaystrying to achieve true black in the theatre when the house lights go out, irked by glowing redemergency exit signs and running lights on stairs in the house (admit it, we’ve all at one timeconsidered blacking them out). We compromise aesthetic for safety all the time, using blue-outsand brown-outs so actors and crew can have “just enough light” to do their jobs safely. We useblue lights backstage and light emitting diodes (LEDs) onstage, and stick glow tape everywhereto help us move around safely in the dark.

• Ensure all workers have received a safety orientation.• Leave as much work light on as possible at all times: when rehearsing, hanging lights and

audio gear, during set installation and strike, on breaks and prior to/following theperformance, etc.

• Before the work lights go out:o Identify, minimize and mark all hazards backstage and onstage.o Spike/glow tape all riser, stage, stair and other edges, as well as corners and entrances

and exits. Charge glow tape.o Spike/glow tape all railings, handholds and other safety design features. Charge glow

tape.o Set up, test and turn on all backstage and onstage running light systems/LEDs.o Rehearse all hazardous sequences—such as scene and costume changes, dance, stage

combat and stunt choreography—under work lights until they can be done with accuracy,confidence and safety in performance light.

o Ensure program sound is turned on in backstage areas, dressing rooms and front of house(FOH).

o Ensure costumes, props and moving scenery are ready and in place.o FOH workers should ensure that audience members are seated before the house lights go

out. They should be provided with flashlights for emergencies.• When the work lights go out:

o All unnecessary movement in the theatre (backstage, onstage and in the house) must bekept to a minimum.

o Designers and technicians should work to minimize the total time the work light is off.



o With the exception of lighting focus, no work on ladders, scaffolding or personnel liftsshould be performed.

o No set pieces or other equipment should be moved unnecessarily.o Communication between the stage manager, lighting operator and backstage crew must

be maintained at all times.o Stage Management must monitor all movement backstage including actors and

technicians.o Backstage and onstage workers must alert Stage Management if they encounter any new

hazards, including light levels that are too low to work safely.o If there are any new identified safety hazards, work must stop until the hazard has been

eliminated, minimized or noted for later control.o If there is any safety hazard identified on or off stage once a performance is in progress,

the Stage Manager must decide if the hazard is imminently dangerous, and make adecision about stopping the show.

• In the case of a blackout:o All workers must be informed before a blackout can occur. The Lighting Operator must

be heard by all saying “Going to Black.”o All movement on and off stage must be kept to a minimum during the blackout.o Blackouts must be kept to a minimum, in number and length.

• Always leave a ghost light on in your theatre.

Venues

Not all theatre takes place in the “perfect” venue. We’ll do theatre anywhere andeverywhere—from old movie theatres to church basements, city parks to school gymnasiums,warehouses to storefronts. When installing a performance venue into an existing spacedesigned/engineered for other purposes, extreme caution must be taken to ensure that a safe andhealthy working environment for all workers, and eventually the audience, is created andmaintained. Also, working in unfamiliar spaces is a common hazard—theatre workers aremobile and venues, be they theatres or not, are often rented for single productions. Rentersshould always ensure that venues, even when rented from/managed by a theatre company, arefree of hazards that could put their workers at risk.

Best Practices• Consult Building and Fire Code regulations when choosing a space as a venue. Not all

spaces are suitable for conversion into theatres.• Obtain hazard assessments and other appropriate information from the building owner.

Learn the approved occupancy/capacity of the space, building emergency procedures andequipment, the fire alarm system, ventilation system and temperature control system; find outif there are potential concerns related to noise, air quality, cleanliness, building materials,general disrepair, etc.

• Ensure adequate entrances and exits for workers and the public. Emergency exits must bemarked with emergency signage and be equipped with panic hardware.

• Ensure adequate structural support for any materials and equipment to be hung and/or rigged.Use ground support (scaffold towers) in venues where you do not know the roof’s loadcapacity.



• Use engineered structures for temporary staging and/or audience platforms.• Ensure adequate power supply for electrical load.• Take safety equipment and supplies with you to the worksite—first aid kits, PPE, etc.• A municipal fire inspector must always approve the end result.

Strike

Strikes can be very dangerous; many workers from many departments converge onstage andbackstage with scenery, props, costumes, lighting and audio equipment, cabling, etc. Because ofthe number of workers and number of activities taking place simultaneously and in closequarters, good planning and management are essential. Production Managers and TechnicalDirectors should ensure that everyone is aware of their duties and if possible/necessary, bepresent at the strike to supervise the work.

Best Practices• Schedule strikes so that different departments work at different times.• Avoid scheduling strikes directly following a closing performance and directly before the

cast and crew party when feasible. Adrenaline is high, fatigue is often an issue and everyoneis looking to be done as quickly as possible.

• Strikes should only proceed under full work light.• Items and equipment in pathways should be removed first, followed by props and furniture.• If there are many departments working together at the same time, extreme caution must be

taken.• At each hour interval, a five-minute assessment should be done with all Department Heads

and/or Crew Chiefs. Work does not necessarily need to stop for these assessments to occur.

A typical strike in my venue. The carp crew starts on deck—they receive dead hung legs onpipes from the grid, untie the knots in the hemp line, pick up screw guns and ladders, go underthe 12-foot risers, start pulling the screws, climb on top of the risers and attach D-rings andslings to the chain motor, raise the risers high enough so that they can go back under to removethe support legs and cross braces, lower the risers, grab crow-bars and sledgehammers and startbusting the support structures and risers apart, inefficiently fill the dumpster out back, climbinside the dumpster to repack the garbage. While all this is happening, lighting and sound arebusy striking equipment and cable from under the risers. So there are three different crewsperforming three different tasks in the same 8-foot by 25-foot space which is filled with speakers,lights, cable, cue lights, black masking, mechanisms to open doors, support structure, etc. Thereare up to 20 people working beside, behind, above, below or right in front of each other. Andthere’s no real light source under there. So, what protective equipment is necessary here?i. Hard Hats – Loads being raised and lowered overhead, working under a freestanding

structure that many people are trying to turn into many freestanding structures.ii. Gloves – Getting a hemp sliver or rope burn could cause you to let go.iii. Safety glasses – Virtually every maker of every hand and/or power tool recommends the

use of eye protection.iv. Hearing protection – Power tools, hammers and voices added together are louder than

you might think.



v. Travel restraint and/or fall arrest – Standing on top of a freestanding structure that’s 12-feet tall requires some sort of fall protection.

vi. Protective footwear – Everyone thinks they would never drop something on their toes …Funny they never mention anyone else’s toes either.

vii. Eyes in the back of your head?

Design and Build

Production Managers, Technical Directors, Stage Managers and Designers must conduct hazardassessments for each production which should include all set interaction hazards, performancehazards, scene changes, costume changes, pyrotechnics, open flame, fog and any other hazardbackstage or onstage, as well as any previously noted venue hazards.

I was working on a production that featured an automated roof unit as part of the design. Theroof was moved with large chain motors. During a preview, one of the motors failed and theroof fell to the deck. Many performers were sent to the hospital with injuries.

Best Practices for Design and Construction• Hazard assessments for venue conditions, sets, props, costumes, lighting, sound, special

effects, etc. should be undertaken at the design stage and progressively as requiredthroughout construction, rehearsal, installation, performance and strike.

• The safety of all who handle, wear or interact with design elements should be taken intoaccount in all stages of design, purchase, construction, repair, maintenance and use.Designers need to consider the size, physical fitness and movement/blocking needs ofperformers and crew.

• Use professionally engineered and manufactured products whenever practicable.• Specialty items constructed for productions should be accompanied by instructions for their

use, care and maintenance.• Design elements should be checked regularly for wear or damage and repaired or replaced

when necessary.• Performers and crew should immediately report any wear or damage to a member of the

stage management team.• Moving and automated platforms and scenery, as well as other hazardous set elements such

as raked stage floors, need to be designed and constructed with care and attention to safetyfeatures.

Best Practices for Scenery• Designers, technical directors and scenic carpenters should have an intimate understanding of

building standards and codes, and the reasons for their existence. Where practicable, setsshould be constructed according to building standards.

• It is not uncommon for a production design to include practical set pieces that are more than3 meters high, and even less common that a designer would agree to a guardrail being erectedon their set. Elevated platforms from which a worker could fall 3 meters or more, or lowerwith an unusual risk of injury, such as falling onto protruding structures, require workers tobe protected from falling.



• Sets and scenery should be actor/crew friendly—both for movement during performance andfor scene changes.

Our set consisted of a large raked platform that had a disc cut out. This disc tilted back andforth, like a teeter-totter, with an actor on it. The disc was operated by two crew memberspulling on ropes under the platform. Their “safe” position was underneath the non-tilting partof the raked platform. Communication was not clear before starting the rehearsal, and one crewmember’s arm was crushed when the disc was cued to move before he got into “safe” position.He no longer has full use of his arm.

Our community theatre built a spectacular abstract set that had one specific piece jutting outclose to the theatre entrance. Although the actors had been blocked around thepiece—rendering the set safe for performance—the piece still presented a trip hazard foraudience members. Stage management spoke with Front of House management, and they agreedto post signs on the set piece during preshow and intermission. In addition, Front of Houseposted a small barrier in front of the set piece and ticket-takers warned patrons about the triphazard as they entered the theatre. No audience members ever tripped on the set.

Best Practices for Lighting• Use blue-outs or brown-outs instead of black-outs whenever practicable.• Focus lighting instruments so not directly in performers’ eyes. If performers are unavailable

for the focus session, use light walkers of the same height as the performers.

A set was designed with a four-foot high boardwalk with no handrails for entrances and exits.Although the boardwalk was glow taped, rehearsed and worked perfectly for the actors for overa week, one night while entering in a blackout, an actor walked off the edge, falling to the deck.All blackouts were cut to ensure that there was enough light on stage to see at all times.

Best Practices for Costumes• Within the reasonable bounds of period, style and character, costumes (including footwear,

masks, wigs and headgear) should be designed, constructed and fit so as not to impedeperformers’ movement, vision, breath or hearing, or to cause unnecessary injury ordiscomfort.

• Rehearsal costumes and footwear should be provided wherever practicable and should be asclose as possible in size, weight and shape to the intended performance articles.

• The company should ask performers if they have any specific allergies to fabrics, dyes,detergents or other possible costume materials. Performers must report immediately anyadverse physical reactions to costume materials.

• Dyes, solvents or other chemicals used in the construction, repair and maintenance ofcostumes should be allowed to evaporate completely before wearing.

• Performers should be given adequate instruction and rehearsal time to become accustomed toall costumes as they will be used in performance, including costume quick changes.

• When open flame or any pyrotechnic effect is used onstage, costumes worn near the flame oreffect must be made fire retardant.



Best Practices for Props• The company should ask performers and craftspeople if they have any specific allergies to

materials or products that may be used in prop construction. Workers must reportimmediately any adverse physical reactions, irritations, discomfort or illness from propmaterials.

• Paints, dyes, adhesives and solvents used in construction, repair and maintenance should beallowed to evaporate completely before the prop is used.

• Portions of props that may potentially come into contact with performers or other workersshould be free of materials or finishes that could cause injury (rough edges, chips, loosematerial, etc.).

• Hand props should be designed, chosen and built with consideration for their specific useonstage.

• Rehearsal props should be provided wherever practicable and should be as close as possiblein size, weight and shape to the intended performance articles.

• Performers should be informed of any changes to a hand prop or stage business already inplace and be given adequate instruction and time to work with the changes beforeperformance.

• Particular attention should be paid to the safe handling and use of food and beverages to beconsumed during a production. There should be no consumption of alcohol onstage.

I was involved in a production where several eggs had to be broken during the show—both overan actor’s head and on the set. We kept the eggs refrigerated in the green room, and washed theeggs needed for each show in a bleach solution as part of our pre show routine. We were alsoable to successfully integrate the cleanup of the egg material on the set into stage businessduring the transition and following scene.

Rehearsals and Performance

Best Practices• Rehearsal spaces should allow adequate room for free movement and blocking. Set design

features should be marked/taped on the floor to scale from the beginning of the rehearsalprocess.

• Stage Managers should ensure adequate time in the rehearsal schedule for the safe andsuccessful integration of all potentially hazardous production elements, including stagecombat sequences, firearms, performer flying, pyrotechnic or atmospheric effects, costumechanges and scene changes. The stage manager should note any rehearsals that will be usedto integrate any of these elements on the rehearsal schedule and callboard.

• The stage management team must develop clear, specialized communication systems for anyrunning crew or performers involved in hazardous sequences. These communication systemsmust be rehearsed adequately and regularly.

• Performers involved in dance, stage combat or stunt choreography should have dedicated anduninterrupted warm-up time and space prior to each rehearsal and performance.

• Special consideration should be given to productions involving children and/or animals. Afull safety system specifically for them should be established.



Stage Combat

Stage combat is “a coordinated series of moves creating the illusion of violent intent, requiringspecific timing and skill, involving either unarmed combat or the use of weapons. It includesany activity that is not normally executed by the average person and that performed incorrectlywould most likely result in bodily injury. Stage combat is not safe, and due diligence must betaken to reduce the danger of the action to one of acceptable risk.” (Theatre Ontario, To Act inSafety, Weapons—Best Practices for Theatres)

Best Practices• Always employ a competent fight director/choreographer. This means someone recognized

as competent by peers in the theatre community/entertainment industry. Fight DirectorsCanada (www.fdc.ca) offers training and certification for fight directors. Communitytheatres that traditionally employ volunteer/non-professional labour should make animportant exception in this case and seek a professional to assist.

• The Canadian Theatre Agreement (CTA) between the Professional Association of CanadianTheatres (PACT) and Canadian Actors’ Equity Association (CAEA) requires that a fightdirector be contracted whenever two or more artists are required to participate in a stage fightinvolving one or more of the following elements: weapons of any sort, including but notlimited to furniture or other props used as weapons, and/or martial arts and unarmed combat.

• Fight Directors should be consulted regarding the design of all physical elements (scenery,lighting, props, costumes, weapons, etc.) for the production.

• Appoint a Fight Captain, a member of the cast with stage combat experience, to observerehearsals of all stage combat sequences and supervise/run rehearsals prior to eachperformance in the absence of the Fight Director.

• A First Aider should be present at all fight rehearsals and performances. Access to atelephone should be readily available in case of an emergency.

• Pre show rehearsals for all stage combat sequences should be mandatory.o Ensure complete control of the space. Allow no distractions once the rehearsal has

started.o Do not rush the rehearsal under any circumstances.o Run each sequence a minimum of three times before each show: first as a walk through,

then again at 75% of performance speed with full intention. Corrections should givenbetween the second and third runs only if necessary.

• Actors should never be allowed to rehearse or perform a fight under the influence of drugs,alcohol, serious fatigue or illness.

Weaponry

Weapons are defined simply as “any object used in a staged fight for attack or defense” (SafetyGuidelines for the Live Performance Industry in Ontario, 3rd Edition). This includesedged/bladed weapons, firearms, props or furniture used in stage combat choreography, etc. It isimpossible to remove all risk posed by the use of weapons—theatre strives for a level ofacceptable risk by attempting to eliminate and control as many potential hazards as possible.



Best Practices• Always use the safest alternative to the real thing.• Develop a written Weapons Policy outlining the minimum qualifications and training for all

workers who handle weapons, as well as policies and procedures for transportation, handlingand storage of stage weaponry. The unauthorized use of any weapon should be forbidden.

• Employ a licensed/competent Weapons Handler, regardless of whether the weapon(s) isfiring or non-firing. In some situations, where appropriate, the Fight Director may performthis duty.

• Only weapons specifically designed for stage combat and approved by the Fight Directorand/or Weapons Handler should be used. Ornamental, costume, antique or ceremonialweapons are not acceptable. Do not use retractable or collapsible weapons—or any weaponthat depends on a mechanical action for safety.

• All edged/bladed weapons (swords, knives, daggers, pole arms with a blade attached, etc.)must have their points made blunt and their blades properly balanced. Never allow a sharpblade in rehearsal or on the stage.

• The Weapons Handler must maintain all weapons in safe working order, according to lawand manufacturer’s specifications.

• The Weapons Handler, as well as the performer to use the weapon, should inspect theweapon prior to each use, as close to the actual time it is required on stage as practicable.Weapons should be inspected for any damage, default or compromise, such as loose handles,loose blades, burrs (jagged cuts a blade develops when it strikes another blade or solidobject), etc.

• The Fight Director and Weapons Handler only should instruct performers in the safe, properand appropriate handling and use of all weapons. Weapons should not be given toperformers until they are deemed competent to handle them.

• Performers should use the same weapon(s) in all rehearsals and performances.• During performance, weapons should be stored away from entrances and exits and in such as

way that they will not cause injury. The Weapons Handler or designate should supervise theweapons at all times.

• All weapons should be secured in locked cabinets when not in use.• The Weapons Handler should log all weapon use.

Firearms—Sometimes only a real firearm will suffice. The Canada Firearms Act requires thattheatre companies who own or use firearms in productions as well as any worker who handlesfirearms be licensed. It is the responsibility of the company and the worker to stay abreast ofnew developments in legislation concerning the handling, transportation and storage of firearmsand ammunition, as well as improvements in safety practices. The specifics of which weaponsare restricted and which are not is available online at www.cfc-ccaf.gc.ca.

Best Practices• All firearms should always be treated as if they were loaded.• Employ a licensed firearms technician as the Weapons Handler. Be sure the worker has the

appropriate license and any additional required training for the firearm being used.• Firearms should be stored unloaded, with trigger locks, in locked cabinets. Fake and/or toy

guns should be treated and stored as if they are real firearms. Alarm systems arerecommended for storage facilities.



• Keep an accurate inventory of all firearms, including which firearms are real, blank firingreplicas or non-firing replicas. Post the inventory wherever firearms are stored.

• Weapons and ammunition should be stored separately whenever possible.• Smoking must not be permitted in any area where ammunition or powder is stored. Signage

should be posted.• All workers (crew, performers, front of house, etc.) should be informed in advance of the

intention to use a firearm in a production.• All workers in the building/area should be warned prior to the firing of a gun.• Rehearsals in which a real or replica firearm will be present and/or used should be clearly

marked on the rehearsal schedule and callboard.• Even if firearms are to be used in a production, rehearsals should be done with non-firing

replicas.• No one should ever be forced to use a firearm.• Firearms should be inspected, maintained, loaded and unloaded by the Weapons Handler

only. They should be loaded as close to the actual time that they are required on stage aspracticable, and unloaded, inspected and locked up as soon as they are off stage.

• Never use ammunition containing a projectile. Blanks, bullets without projectiles, arecommonly used in theatre to create the effect of the gun firing. Blanks have killedperformers.

• Never hand a firearm to a person barrel-first.• Firearms should never be pointed at anyone, including yourself, even when being fired

during a performance.• Ensure adequate personal hearing protection is provided for any performer or crew member

who may require it.• Limit the number of non-essential personnel in the area when firearms are in use.• During performance runs, post “Gunshot” warning signs at the entrance to the theatre and

print a notice in the program.

A college stagecraft program had a very good collection of replica firearms that were properlytagged for identification, and the program felt that reasonable means were made to secure thearms. A number of students knew where the firearms were stored which may have led to theunfortunate incident that took place. An unknown person(s) broke into the department afterhours and stole several items including the replica firearms, which they proceeded to use to holdup a nearby liquor store. Luckily the store employee cooperated with the culprit and was notharmed. The person ditched the replica nearby, and it was traced back to the department andthe original break in. Although the firearms were locked up, they were locked in an areaaccessible to many people and in a cabinet made of easily pried open aluminum. In addition,gunpowder and other explosives were stored in the same cabinet.

Electrics

Electricity is a deadly force that must be handled with intelligence, respect and utmost safety.

Best Practices• All outlets should be considered live until proven dead.



• Always consult a qualified electrician before beginning any electrical work. Only thosepersons accredited under relevant legislation should undertake the maintenance and/orinstallation of electrical services

• Temporary distribution of electricity from distribution points such as dimming systems, walloutlets, mains disconnects, distribution panels or generators should be done by qualifiedworkers only.

• Only certified electricians should “tie in” portable distribution panels to existing electricalservices if not outfitted with proper connectors such as P&S or cam-lock.

• All 4 or 5 wire connections with single wire connectors should be connected in the followingorder: ground, neutral, then subsequent hot or live wires. These connections should bedisconnected in the reverse order (ground last).

• A disconnect switch or main breaker should be put in line in front of the connection. Allconnections should be done with this switch in the off position.

• Maximum loads of lighting dimmers, cables and boxes should not be exceeded.• All extension cords and cables should be of sufficient gauge, voltage and amperage rating.

The connectors on the end of the cords should have the similar ratings, be properly strainrelieved and in good working order.

• Any lights or appliance that requires a grounded circuit should always be supplied with one.Grounded extension cords should never have their grounding pins removed.

• Ensure all cabling and cords are free of compromises such as cuts, frays, twists, kinks, etc.Check the entire length of cables being used.

• Cables should not be spliced; they should be connected to approved terminals or connectors.• Extension cords should not be used as permanent wiring.• All electrical equipment and devices must be protected from the weather. When there is a

possibility of moisture, any joins should be provided with adequate weather protection.• Electrical equipment must be isolated (disconnected) before servicing. This includes

servicing a lamp after the lighting fixture is rigged (e.g. replacing a bulb).• Only properly trained personnel should use or service "arc" or "higher voltage" gas discharge

lamps.• Metal shutters, barrels, housings and gobos can become extremely hot while in use. Always

use gloves—preferably leather—when handling a powered lighting fixture.• Ensure all lighting fixtures and accessories are secured safely and have a secondary fall

restraint to prevent the fixture or its accessories from falling (i.e. a safety chain). The fallrestraint should have a breaking strength great enough to stop the dynamic load of the fallingfixture and/or accessories. Technicians must double check all safety chains when hanginglights.

• The distance that a fixture might fall before being stopped by its safety chain must be suchthat no strain is placed upon the electrical cord.

• Maintain adequate clearance between lighting fixtures and nearby items such as drapery.

I was working as a soundboard operator at an all-day cue-to-cue and tech rehearsal for auniversity class production. The performers and operators had been practising cues allmorning, so most of the lights had been on for at least four hours. During the lunch break, thecast left the theatre, but the lights were left in an intermission cue. I returned from lunch half anhour into the break and cut through the empty theatre to find a burning smell permeating thespace and smoke filtering from a corner of the grid. I found the lighting designer in the green



room, and he promptly turned off the production lights, isolated the overheated instrument,removed the light from the patch (and tagged it), and installed a new instrument.

Pyrotechnics

Pyrotechnics and related special effects are a growing field in the theatre industry. Pyrotechnicsrefers to effects where chemical mixtures are used to produce visible or audible effects bycombustion, deflagration or detonation. Effects range from simulated lightning to a magicianstanding in the middle of the stage shooting a tiny flash of fire from his fingertips to featuredesign elements such as burning buildings or hell mouths, belching large flames amongst thescenery.

Hazards include: inexperienced pyrotechnicians; explosions (including fragments or shrapnel);fire; excessive smoke or smoke inhalation; skin contact with pyrotechnic materials; release ofpotentially toxic chemicals and dust; storage and transportation; and minor incidents such assetting off sprinkler systems (which can become a major hazard if drapery becomes soaked andheavier than the rigging system can support). Mishandling of pyrotechnics could result in severeburns, wounds, eye damage, hearing damage, property damage, fire, and, in extreme cases,death.

In Alberta, any worker who handles, prepares or fires any type of explosive must hold a validpermit issued by Alberta Human Resources and Employment or a valid inter-provincial permitacceptable to AHRE. A worker can qualify to apply for a blaster's permit by completing anapproved course or having six months' experience and an employer's recommendation. Atechnician must also take the Pyrotechnics Special Effects Course run by the ExplosivesRegulatory Division of Natural Resources Canada (www.nrcan.gc.ca) to begin working withPyrotechnics. Even carrying a box of product without these licenses is an offense punishable bylaw.

The following are levels of training and licenses within the Pyrotechnic Special Effects course:• Theatrical User—unsupervised person using basic pyrotechnics; the most common training

and license used in the theatre• Assistant Level—unsupervised person using basic pyrotechnics and all other authorized

articles and powders if supervised• Pyrotechnician or Special Effects Pyrotechnician—requires extensive experience within the

pyrotechnics industry; can use all authorized articles and powders

The National Fire Protection Association has set standards of practice for the use of pyrotechnicsin live performance that are referenced in Alberta’s OHS Code. These standards of practiceappear in the publication NFPA 1126: Standard for the Use of Pyrotechnics Before a ProximateAudience, which can be purchased from the NFPA website at www.nfpa.org. Open flame onstage must be, in accordance with the Fire Safety Code of Alberta, brought to the attention of theauthority having jurisdiction for the theatre’s location. The property/building owner must alsoapprove of a pyrotechnics display for insurance purposes.



All information and training regarding the safe handling, preparation and firing of explosivesmust be sought through one of the above-mentioned government agencies.

Best Practices for Pyrotechnics• Always consider alternatives to pyrotechnics wherever possible.• Theatre companies must employ a competent pyrotechnician who has a valid blaster’s permit

from AHRE before the first rehearsal.• The pyrotechnician must be in attendance at all rehearsals and performances involving

pyrotechnics.• All workers should be made aware that pyrotechnics will be used in a production. The

production team, performers and crew should be trained in, understand and follow allestablished procedures for the safe use of pyrotechnic effects.

• The following should be considered when planning for pyrotechnic effects:o smoke, flame and ionization detection in the theatreo emergency evacuation and fire safety plans for the buildingo safe and secure storage at the venue or the possibility of bringing in secure storageo securityo placement of fire extinguishers/hoses—also check water and test labels (note however

that not all fires from pyrotechnics can be put out using a fire extinguisher)• Obtain Material Safety Data Sheets on controlled products you plan to use. In particular note

whether the Reactivity section lists any hazardous decomposition products.• Prepare a scale drawing indicating the location of the pyrotechnics, the safety zones required

and the location and proximity of workers and the audience. The pyrotechnician must noteblocking and emergency evacuation routes for all pyrotechnic effects in writing anddistribute the blocking plan to all departments and individuals involved.

• Costumes, wigs, props and any set pieces near the effect/flame—including curtains andblacks—should all be made of flame resistant materials or treated with flame retardant.

• The following personal protective and safety/first aid equipment and is recommended whenworking with pyrotechnics:o eye protectiono hand protectiono cotton clothing or other non-synthetic fabric that will not melt and stick to the skino a face mask/respirator (required when handling powders or liquids)o antistatic workstations/strapso danger tape and other signageo fire blanketo high visibility vests if outdoors

• Some manufacturers of pyrotechnics have proprietary tools available for use. The followingguidelines are recommended for choosing tools appropriate for pyrotechnic work:o tools should be non-sparkingo use tools/cutters that reduce friction or impacto when testing electric circuits, current limited devices (under 0.025 amperes) such as a

blasting galvanometer should be used—never use a multimeter!• A minimum of two (2) fire extinguishers with a 3A – 60 B:C rating should be onsite, as well

as a 10L pressurized water extinguisher. Note that local fire code may specify a certain typeof extinguisher in your venue.



• Any rehearsals used to test the pyrotechnic effects (including dry runs) must be clearlymarked on the rehearsal schedule and callboard—along with the nature of effects beingtested. Minimize the number of exposures to risk—if the pyrotechnic effect is not essentialfor all rehearsals then don’t use it.

• Before involving performers:o a dry run of the effect(s) must take place onsite to demonstrate timing, spacing and safety

parameterso safety equipment and safety precautions such as fire extinguishers, warning and

communication systems should be in placeo the intended actions, possible deviations and the authority to abort should be made clear

(the pyrotechnician should have the final authority on this)o the dry run should take place in an environment as free of distractions as possible

• When explosive materials are brought onsite, the Building Owner/Manager, Stage Managerand Production Manager should all be notified. The pyrotechnician should review the initialhazard assessment at this time.

• Signage must be placed at the theatre entrances to warn audience members of the use ofpyrotechnics.

• The production team must allow sufficient time for the pyrotechnician to prepare theexplosive materials before each use and perform a final check of wiring, position, hookupsand pyrotechnic devices to ensure that all are in proper working order.

• Wireless RF transmitters—such as cell phones, two-way radios, wireless com, etc.—cancause the accidental firing of pyrotechnic devices, a phenomenon caused by electromagneticfields. A minimum of 4 meters separation between pyrotechnic wiring and the transmitterslisted above is recommended. The Institute of Makers of Explosives’ (www.ime.org)publication SLP 20: Safety Guide for the Prevention of Radio Frequency Radiation Hazardsin the Use of Commercial Electric Detonators includes a list of recommended distances forall types of transmitters.

• When firing pyrotechnics, the pyrotechnician must have an unimpeded line of sight to theproduct so he/she can determine that all personnel and equipment are at a safe distance andthe product can fire safely. Where this is not possible, an assistant, who is in directcommunication with the pyrotechnician and has an unimpeded view of the effect, should beassigned. The assistant should be familiar with the effect and know the conditions underwhich it would need to be aborted.

• After the display has been executed, identify that all effects have successfully fired. If anyexplosives have not fired, treat the pyro as live. All unfired effects must be fired or disposedof in accordance with manufacturers’ specifications. Confirm that there are no hot spots orfall out that has caused/will cause damage. Be sure to check under stage areas.

Working at Heights—OHS Code, Parts 8, 9, 22 & 23

To fall or not to fall. The question is why would you even risk it? Safety legislation is very clearabout fall protection and when and how it must be used. If you ever feel unsafe working atheights, do not know how to use the fall protection equipment provided, feel that the providedfall protection is insufficient, or have any questions about your own safety, you must stop whatyou are doing and immediately consult with a supervisor.



Craftspeople, technicians, performers and various other theatre workers often need to work atheights. Working at heights includes work on ladders, scaffolding towers, tall platforms or riserson set, in the grid or catwalks, fly towers, etc. Major hazards of working at heights includefalling and damage to property or people below the work area from falling objects.

Some theatres are fortunate enough to have permanent, safety-engineered grids and catwalkswith guardrails. Even when this is the case, however, technicians and craftspeople willnecessarily find themselves on ladders and/or in personnel lifts when installing set pieces,hanging drapery and masking, hanging and focusing lighting equipment, etc. Once the set andseating risers are installed in a venue, they may also need to maneuver uneven floor surfaces.

Before work begins, every effort should be made to ensure the area below the work area is clearof people. If possible, the area should be marked off and signed. Inside the theatre, workersshould never be on stage or in the house if workers are above in the grid or on elevated workingplatforms. Those working at heights should empty their pockets and secure all tools to theirbodies before climbing the ladder or going up to the grid. They should also be sure that they arewearing appropriate footwear and clothing, to reduce the risk of slipping or snagging.

Travel restraint is first line of defense when working at heights, and should always be exploredbefore fall arrest; it prevents a worker from getting to an edge from which he or she could fall.Travel restraint includes the erection of permanent or temporary guardrails. Fall arrest involvescatching a person in midair before he or she strikes a lower surface, and normally involves a fullbody harness or nets.

Openings, Guardrails and Toe Boards—OHS Code, Part 22Openings through which a worker could fall must be securely covered with material that cansafely support any anticipated load or protected by guardrails and toe boards. In a theatre, anopening could be a trap, orchestra pit, etc. Temporary coverings must be clearly markedindicating the nature of the hazard.

Guardrails must meet the following requirements:• Horizontal top member must be installed at a height between 920 mm and 1070 mm (36-42”)

above the base of the guardrail.• Horizontal intermediate member must be spaced mid-way between the top member and the

base.• Vertical members must be located at both ends of the horizontal members with intermediate

vertical supports that are not more than 3 m (10 ft) apart at their centers.• Must be constructed of a minimum 38 mm by 89 mm (2x4”) lumber or materials that possess

equal or greater strength.• Must be secured to prevent dislodgment in any direction when struck or contacted at any

point on the guardrail.

Toe boards are required where there is a risk of material falling to the work area below and mustmeet the following requirements:• Must be at least 140 mm (5.5”) in height above the work surface.



• The space between the bottom of the toe board and the surface of the work area must not bemore than 6 mm high.

Fall Protection—OHS Code, Part 9Fall hazards should be identified for each performance venue and for specific productions whendesign plans are submitted for approval. Fall Protection Plans need to address identified hazardsin the venue and hazards that arise during the construction, assembly, changeover, rehearsal andperformance phases of productions. Adequate fall protection must be in place even if the work isconsidered “temporary.”

Legislated Requirements• If a fall of 3m (10ft) or more may occur, and workers are not protected by guardrails, an

employer must have a written fall protection plan. This must be in place and available at thework site.

• Workers must be trained in the fall protection plan and the safe use of the fall protectionsystem before working in an area where a fall protection system must be used.

Fall protection is required if:• A worker may fall 3m (10 ft) or more• A fall from a lesser height may involve an unusual risk of injury (for example, onto an

uneven set surface, moving scenery or live flame)

A Fall Protection Plan must include:• The fall hazards at the worksite• The fall protection system to be used at the work site• The procedures used to assemble, maintain, inspect, use and disassemble the fall protection

system• The rescue procedures to be used if a worker falls or is suspended by a personal fall arrest

system or safety net and needs to be rescued

Fall protection system means one or a combination of the following:• A personal fall arrest system• A travel restraint system• A safety net• A control zone (on flat roofs only)• Another system approved by a Director of Inspection (Workplace Health and Safety)

The preferred order for controlling fall hazards is:1. Elimination of the hazard2. Engineering controls—such as guardrails or other barriers3. Administrative controls—control zones4. Personal protective equipment:

a. Personal travel restraint to prevent worker from traveling to an edge or position fromwhich the worker could fall, is preferred to

b. Personal fall arrest system that stops a worker's fall before he or she hits a lower surface



Travel Restraint System components must meet the standards listed in Part 9 of the OHS Codeand workers must be trained in their proper use and maintenance. Workers using a travelrestraint system must not be able to reach a position where there is a risk of falling. Componentsof the system usually include: lanyard, lifeline or horizontal lifeline with rope grab andconnectors (snap-hooks, D-rings, carabineers, etc.). A full body harness is recommended in allsituations.

Personal Fall Arrest Systems do not prevent a worker from falling, but rather catch a worker inmid-air before he or she hits a lower surface. All components must meet the requirements listedin Part 9 of the OHS Code and workers must be trained in their proper use and maintenance.Components of the system usually include: anchorage, lifeline, full body harness, lanyard, shockabsorber and connectors.

Ladders—OHS Code, Part 8

I was working on a lighting call onstage, using ladders. After lunch, I went to move a ladder tostart work. As I tipped it back, a crescent wrench fell off the top and straight into my eye. I waslucky to escape with only three stitches in my lower lid and no permanent eye damage. Still, Ilost three weeks of work.

Most work performed on ladders in the theatre is considered “temporary, light work”—whichmeans that formal fall protection measures are not necessary, even when working at a heightabove 3m (provided ladders are used according to manufacturer’s specifications). This includestasks such as scenic painting, hanging drapery, focusing lighting fixtures, etc.

Best Practices• Ladders must meet the appropriate CSA or ANSI standards listed in the OHS Code.• Follow manufacturer's instructions and specifications.• Inspect ladders before each use. Remove damaged ladders from service.• If an alternate safe method is available to enter or leave an elevated or sub-level work area

(e.g. a staircase or ramp), do not use a ladder.• Portable ladders must be secured against movement and placed on a base that is stable.• A worker must not perform work from either of the top two (2) rungs, steps or cleats of a

portable ladder unless the manufacturer's specifications allow the worker to do so.• Hand and power tools must be used with utmost caution when working on ladders. Hand

tools should be secured to the worker’s body to prevent them from falling.• Tools must never be left on a ladder or elevated work platform once a worker has returned to

ground level.• Work lights should be on when there is any movement up or down a ladder.• Workers working from a portable ladder at a height of 3 meters (10ft) or more where fall

protection is not practical must:o Only perform light duty tasks of short duration.o Maintain center of balance at the centre of the ladder at all times.o Generally have one hand available to hold onto the ladder or other support.

• If the work will take longer than 15 minutes, use another method such as a personnel lift.



The following information is excerpted from Working at Heights in the Live ProductionIndustry in B.C. by SHAPE, August 2005.

There are three categories of ladders used in live-performance work:• portable ladders (straight ladders, extension ladders, A-frame ladders and stepladders)• wheeled A-frame ladders• permanent ladders (access ladders and escape ladders)

Raising and lowering itemsWorkers should not climb ladders while carrying heavy or bulky objects that may make ascent ordescent unsafe. Either position yourself securely on the ladder and rope the item up or down, orattach a pulley block to a rated overhead grid or rigging point and have ground crew raise orlower the object. If you are roping the item by hand, make sure the ladder is secure enough foryou to do so safely (for example, tie off the ladder at the top and secure it at the bottom or haveladder assistants foot the ladder).

Working with ladder assistantsWhen necessary, use ladder assistants to:• foot the ladder• keep people out of the area• hook up and raise or lower equipment or materials on a rope• note: the use of ladder assistants does not constitute fall protection

Portable ladders as scenic units or propsA portable ladder constructed at the job site must meet all legislated requirements unless it willbe used as a scenic unit or prop that will be visible to the audience. If a ladder is designed andconstructed for use as a visible scenic unit or prop:• inform all workers that the ladder is for performance only• mark the ladder “for performance only” when it is not being used in performance or rehearsal

Wheeled A-frame laddersWhenever possible, use a personnel lift for working at heights. If a lift is not practicable for yourproduction or the task at hand, you may use a wheeled A-frame ladder. Wheeled A-frameladders are extension trestle ladders mounted on a castered base. Avoid using casters mountedindividually on each leg of the ladder. Instead, secure the ladder to a wheeled base assembly.Follow these guidelines for wheeled base assemblies:• use lockable casters• make sure each caster is rated to support the design working load of the ladder (the

Regulation requires that casters be designed to support four times the design working load,hence with four casters each individual caster must support the design working load of theladder)

• attach casters to the base assembly using through-bolts, not screws• position casters directly under the ladder feet and make sure they are able to rotate freely

without jamming• make sure the base assembly extends far enough beyond each foot so the casters can swing

freely without jamming against adjacent objects



Working from the top of a wheeled A-frame ladderThe safest way to work from a wheeled A-frame ladder is to sit on the top rung. Follow theseguidelines:• have an assistant present while you get into position• make sure the casters are locked and the ladder is stable before climbing it• straddle the top rung of the vertical extension, placing one foot on either side on the second

or third rungs• keep your centre of gravity close to the ladder’s centre line• when moving into or out of position, keep both hands free and move carefully until you are

comfortable and stable

Moving workers on wheeled A-frame laddersYou can move a worker on a wheeled A-frame ladder only if you are making small movementsfor tasks such as focusing adjacent light fixtures or tying soft goods along a pipe and areoperating on a level surface free of potential hazards. In addition, you must follow these safetyguidelines:• do not move the worker to another work area or allow the worker to “monkey bar” their way

to a new work area• use two safety monitors to hold and move the ladder at its base, and lock the wheels when the

ladder is close to an edge• set clear communication protocols between the worker on the ladder and workers on the

ground• the worker at the top of the ladder should direct all ladder movement

Personnel Lifts—OHS Code, Part 23Theatre technicians often use personnel lifts—telescopes, genies, etc.—in ways that do notcomply with manufacturers’ suggested operating procedures. For example, workers may move agenie with an operator in the bucket during a focus session or work from a telescope without allsupport braces in place due to the nature of scenery onstage. Personnel lifts must meet theappropriate CSA or ANSI standards listed in the OHS Code and always be operated bycompetent, trained workers in accordance with the manufacturer’s instructions andspecifications.

Scaffolds—OHS Code, Part 23Scaffolds are commonly used in the theatre by scenic artists and technicians when working atheights, to support truss and lighting equipment in both indoor and outdoor venues and bydesigners as scenic design elements in productions.

Legislated Requirements• Follow manufacturer’s instructions/specifications and applicable standards.• Scaffold erection and dismantling must be done by, or supervised by, competent workers.• Inspect and tag all scaffolds as required by the OHS Code.• Do not use scaffolding unless it is safe for use.• Scaffolds and other metal grids/pipes/structures used to support lighting or power distribution

must be effectively bonded to the ground.



The following information is excerpted from Working at Heights in the Live ProductionIndustry in B.C. by SHAPE, August 2005.

Erecting scaffoldsA qualified worker must supervise scaffold erection and dismantling. Follow these safetyguidelines when erecting scaffolds:• Follow the manufacturer’s and supplier’s instructions and meet all legislated requirements.• Erect scaffolds on solid footings. If necessary, use screw jacks to level scaffolds.• Secure and rigidly brace the uprights to prevent swaying and movement. If a scaffold is

higher than three times its minimum base dimension, secure the scaffold to the adjacentstructure or use guylines and/or outriggers.

• Do not erect scaffolds near power lines or other energized high voltage electrical conductors.If necessary, contact the local power company.

• Install required guardrails and toe boards on platforms that are 3 m (10 ft) or higher.• Do not mix and match components. Keep erection drawings on site.• Use fall protection equipment when erecting or dismantling scaffolds with platforms that are

3 m (10 ft) or higher.

Using scaffolds• Inspect scaffolds daily before using them and after any modification.• Follow the manufacturer’s and supplier’s instructions and replace any damaged components.• If guardrails cannot be installed on the scaffold, use personal fall protection equipment.• Use a ladder, stairway or other safe means to access the scaffold’s working landings. Do not

climb the outside of scaffold frames between landings.• Do not use ladders or makeshift devices on top of scaffolds to increase height.• Never overload a scaffold with materials or people. Do not exceed the manufacturer’s and

supplier’s load specifications.• Secure and belay equipment when hoisting it up and down. When lifting materials more than

three frames high from the ground, use a well wheel and davit. Secure equipment on top tothe main framework of the scaffold.

• Do not remain on a rolling scaffold while others are moving it if the scaffold is higher thantwice its minimum base dimension.

• Do not remain on a rolling scaffold if you are moving it and the platform is higher than oneand a half times the scaffold’s minimum base dimension.

• Do not work on a draped scaffold in outdoor conditions unless a professional engineer hasdetermined that it is safe to do so in those conditions at that particular venue.

• Objects mounted on scaffolds can disrupt the scaffold’s weight balance, making it unstable.Use counterweights or bracing if necessary.

Scaffolds as scenic units or propsA scaffold must meet all legislated requirements unless it will be used as a scenic unit that willbe visible to the audience. If a scaffold is designed and constructed for use as a visible scenicunit and it does not meet all legislated requirements, you must include it in your fall protectionplan. You must also:• inform all workers that the scaffold is for performance only



• mark the scaffold “for performance only” when it is not being used in rehearsal orperformance

• provide an effective means of fall protection for workers

Rigging—OHS Code, Part 21

Rigging is a practice as old as theatre itself—borrowed from the Greek sailors, it was first usedin the plays of Aeschylus, Euripides and Aristophanes. Rigging generally refers to anything thatis used for attaching, supporting or flying stage effects. Today, theatrical rigging has grown toinclude complex and sophisticated flying systems with computer controlled automation andperformers that fly effortlessly through the air. Rigging legislation applies to all types ofrigging—it is not by any means theatre specific. However, anyone who is responsible for anytype of theatrical rigging should read and understand the OHS Code before proceeding with anyrigging work.

Rigging is one of the most dangerous fields in the entertainment industry. Flown scenery andperformers—whether hoisted using automatic machinery or manual rigging—present hazardsfor:• the rigger (musculoskeletal and other bodily injuries)• the performer (fall injuries)• any performers or crew onstage below (being crushed by falling scenery)• the audience (being crushed by a performer, a set piece, a chandelier, etc.)• other set pieces, furniture, stage floors and the rigging equipment itself

Best Practices• Properly trained and competent persons only must be involved with the operation, testing and

routine maintenance of rigging equipment and systems. All riggers must be deemedcompetent by their employer and to the satisfaction of the producing company and the venue.Riggers must be knowledgeable in safe operation and maintenance of the equipment and itssafety devices, safe working loads, hazards during proper and improper operation andemergency procedures.

• The operation of all rigging equipment and systems, including chain hoists, truss, etc., mustmeet with manufacturer’s specifications and recommendations.

• The safe working load (SWL) of a rigging system must never be exceeded.• Baton and component should not exceed a balanced load by more than 40-50 lbs.• All rigging equipment and systems, including brakes and harnesses, must be inspected:

o before each use (especially rope locks/braking systems)o annually—a certificate of test/inspection must be providedo after alterationso at regular intervals between annual inspections

• The system designer and user must be satisfied that all connectors are capable of safelycarrying the required loads and that any quick release system has a satisfactory, positivesafety lock.

• The loading and unloading of counterweights should be done by two people.• Counterweights must be enclosed with a guard preventing passage underneath. The guards

must be secured in place.



• Chains or ropes must never be shortened by knotting.• Packing must be used between slings and sharp edges.• Steel slings should be used as a secondary for fiber slings if there is a risk of fire.• Damaged or defective slings and ropes must be marked and removed from service.• Pulleys, blocks, sheaves and drums must be designed in such a fashion as to prevent the rope

from coming out of the groove and becoming jammed between the sheave/drum and sideplate of the pulley or block. Installation and use of these items must take into accountrecommended fleet angles when the flying wires are subject to swing during operation.

• After installation, it is recommended that the entire system be proof tested to 1.5 x thedesigned SWL.

• Riggers must maintain control and visual contact with a moving piece at all times.• As far as it is reasonably practicable, suspended loads must not be passed over workers (see

section 69 of the OHS Code—loads over work areas—for more information). Workers mustbe effectively warned of the dangers arising from loads, such as flown scenery, suspended ormoved above them. Riggers/operators must be aware if and when workers are underneathloads.

• Flown props and scenery that are used to fly a performer must be designed and manufacturedby a qualified person. Initial operation must include a training process by the qualifiedperson for both operators and performers.

• Any rehearsals in which flown props and scenery—or performers—is attempted must beclearly noted on the rehearsal schedule and callboard.

• Consideration of lighting, set or sound changes should be communicated to both riggers andaerial performers.

Best Practices for Flying Performers• The design and installation of rigging systems for flying performers is a highly specialized

area of rigging and should only be undertaken by experts in the field.• When flying performers, the SWL represents an active, dynamic load—not a static load.• The operation of an unbalanced counterweight system may be required during the flying of

performers. The system must always be operated within the manufacturer’s guidelines andwithin the operator’s ability to hold the out-of-balance load safely.

• Rigging used to suspend performers must have a minimum designed safety factor of 10:1.• If cable or wire rope tracks are used for the transverse movement of a flying performer, they

must be designed and rated specifically for the flying of performers and have a minimumdesigned safety factor of 10:1. This includes all load trolleys.

• Wire ropes to be used for flying wires should be sized depending on the weight to be lifted,the flying choreography (pendulums, somersaults, etc.), the number of wire ropes supportingthe performer, the rigging method, the inspection schedule and other relevantfactors—including the termination of the wire rope. Wire ropes must be labeled with theSWL.

• Where two or more flying wires are supporting the performer at all times, each wire ropemust have a minimum designed safety factor of 5:1.

• Any performer being hoisted in the air must be wearing an appropriate harness according tomanufacturers’ specifications.

• The harness is part of the rigging—not part of the costume. Any costume elements worn overthe harness must not impair the vision, mobility and/or safety of the performer.



• No part of the costume can be attached to the harness.• No part of the harness can be cleaned, dyed, painted or marked with a substance that may

degrade the strength and/or integrity of the harness materials.• Performers on flying props must be secured to the prop by cables and harnesses.• The use of crash mats and safety netting should also be considered depending on the nature

of the stunt/choreography.• All aerial choreography should be rehearsed with the equipment as many times as necessary

to render the flying effect reasonably safe.

Tools and Equipment—OHS Code, Part 25

Tools are used in all theatre departments, from industrial sergers and grommet machines in theWardrobe Department to lathes in the Props Shop to various hand and power tools in the SceneShop. Theatre technicians and craftspeople are notorious for their “creative” use of tools—andwhile there’s always room for creativity, tools must be treated with respect and used withintelligence.

Best Practices• Always follow the manufacturer's instructions and/or specifications. Tools should not be

used beyond their design capacity.• Always select the proper tool for the job. Cutting discs must not be used for grinding or vice

versa. Consider the use of alternative tools before committing to the use of explosive orcompressed air tools.

• Maintain all tools in safe working order. Cutting tools should be maintained in a sharpcondition and protected when not in use.

• Only trained and competent workers should operate tools (especially explosive poweredtools).

• Always check for defects before using a tool. If a tool is defective in any way, do not use it.The defective tool must be tagged for repair.

• Ensure tools are clean. Greasy, wet, slippery or dirty tools must be cleaned before use.• Manufacturer’s specifications and instructions for all tools and equipment must be readily

available to workers and should be kept well organized. Require workers to refer to thisinformation before using the tool or equipment.

• Do not wear loose clothing or cuffs when working with tools. Neck chains are hazardousand should be worn under clothing. Rings are not recommended. Long hair should be tiedback or otherwise confined. Hands must be kept free of oil and grease.

• Mark necessary safety zones around equipment and tools. Secure the work area withbarricades and signs if necessary.

• Do not hold work pieces with your hands where there is a danger of them moving. Securethem with clamps or similar devices.

• All tools and equipment with moving parts must have proper guards with which they weremanufactured and guards must be functioning properly.

• Explosive powered tools should be stored in locked boxes when not in use and explosivecharges should be stored separately.

• At no time should discharge of compressed air come in contact with any part of the humanbody.



• Turn off and lock out tools and equipment, even if only getting up for a few minutes.• Tools must be stored appropriately when not in use.• Do not distract people who are working with tools and machinery.

Locking Out—OHS Code, Part 15

Lockout is the use of a lock or locks to render machinery or equipment inoperable or to isolate anenergy source. The purpose of lockout is to prevent an energy-isolating device (such as a switch,circuit breaker or valve) from accidentally or inadvertently being operated while workers areperforming maintenance on machinery or equipment, making sure it won’t start and injureworkers. (Lockout, WorkSafe BC, 2005) In theatres, workers must lockout for tasks such asinstalling dimmers or making repairs to automated scenery.

Legislated RequirementsIf equipment is to be serviced, repaired, tested or adjusted, an employer must ensure that noworker performs work on the equipment until it has come to a complete stop and a worker hasa. locked out, or locked out and tagged with a warning tag, the equipment and removed and

rendered safe any hazardous conditions, orb. otherwise rendered the equipment inoperative in a manner that prevents its accidental

reactivation and provides equal or greater protection than the protection afforded underclause a

Locking out ensures that all workers servicing or repairing equipment are protected frompersonal injury from hazardous energy sources or physical danger. Equipment that has beenidentified as unsafe for use should be locked out until replacement or repair is completed,thereby isolating it from flow, pressure, electricity or any other energy source whilemaintenance, repairs or modification work is being performed.

When installing new machinery or equipment, or performing maintenance or repair work, allconnecting energy sources should be shut off and the stored energy must be released. An energysource can be mechanical, hydraulic (fluids), electrical, pneumatic (air, gas), gravitational, stored(spring) or radiation. Often, more than one energy source is involved and all must be neutralizedthrough a proper lockout before proceeding with the maintenance or repair job. Ensure all storedenergy is released.

Vehicles—OHS Code, Part 19

Theatre workers drive sets cross-country in large trucks, move heavy materials with forklifts,pick up audio and lighting gear from suppliers and go on tour in rented mini-vans to high schoolsand communities across the province.

Best Practices• Maintain all vehicles in safe working order according to manufacturer’s preventative

maintenance schedules.• Have regular vehicle inspections performed and documented by licensed automotive

dealerships or recognized service facilities.



• Vehicles should be equipped with reflective warning triangles, first aid kit, cell phones,report forms for accidents, local maps, flashlight, blanket, ABC extinguisher, trunk tie down,windshield washer fluid and ice scraper/snow brush.

• Obtain copies of valid drivers’ licenses and driving abstracts from all workers who arerequired and insured to drive company vehicles or transport other workers.

• Drivers should perform a visual pre-start inspection of the vehicle prior to each use. Pre-startinspections should include the following checks:o tire inflation, including spareo wheel boltso fluids: oil, coolant, power steering, brake and wiper (check for levels and leaks)o lights: headlights, brake lights, signals and four-way flasherso brakes, including parking brakeo belts and hoseso oil pressureo doors, windows and mirrorso gas cap secureo wipers and sprayero horno seatbeltso steeringo shockso engineo idle speedo license plates and insurance papers

• Workers should immediately report and document any damage, problems or concernsregarding a vehicle to their employer.

• Drivers should be responsible for adhering to all traffic laws, including ensuring seatbelts areworn by all passengers.

• Vehicles should be shut off during loading and unloading. Properly restrain loads that couldshift during transport.

• Follow regulations outlined in Transportation of Dangerous Goods Act if transportingflammable, radioactive, chemically or biologically toxic materials.

• Only competent and trained workers should operate forklifts. Employers should inspect andevaluate worker’s performance in this regard.

Materials Handling—OHS Code, Part 14

From road crates to pails of paint, lighting equipment to rigging counterweights, fiberglass setpieces to drapery, heavy lifting is a necessary part of work in the theatre industry. Forcraftspeople, crew and performers, back injuries can be career-ending afflictions, and withoutproper care and knowledge, any lift could be your last.

The lifting and handling of loads, also known as manual handling or manual materials handling,includes lifting, lowering, pushing, pulling, carrying, holding, dragging and supporting objects.The injuries caused by such work are referred to as musculoskeletal injuries, or MSIs. These areinjuries of the bones, joints, ligaments, tendons, muscles and other soft tissues.



Best Practices• Reduce or eliminate heavy and repetitive lifting wherever possible. Use lifting equipment

such as carts, dollies, scissor lifts, pallet jacks, forklifts, etc. Modify the work process andworkstation to reduce bending, twisting, reaching, heavy lifting, excessive forces and highlyrepetitive motions.

• Pushing and pulling is preferable to lifting and lowering. Pushing is generally preferred overpulling because the worker is able to use their body weight to apply force to the load to get itto move.

Proper Lifting Techniques• Keep objects you lift as close to your body as possible.• Tighten your abdominal muscles. “Bracing” helps support your lower trunk.• Maintain the natural curve of your lower back.• Try to have lifts begin at knee level but go no higher than shoulder level.• Avoid rotating or twisting movements when lifting or lowering a load. Turn and take a step.• Pace your work.• Report symptoms early.• Two person lifts can sometimes be used but must be well coordinated. Two workers cannot

lift twice the weight that one worker can; a two person team can lift approximately two-thirdsthe sum of what each individual can lift.

Ergonomics and Repetitive Strain Disorder

Repetitive strain injuries (RSIs), injuries caused by overusing the musculoskeletal systemthrough repeated movements, are an increasing concern in many workplaces and industries. Inthe theatre, stage managers, designers and board operators who spend long hours atcomputerized workstations are at risk, as well as craftspeople who stand, sew, paint, build, etc.for extended periods of time. Symptoms of an RSI include dull aches or numbness (which mayworsen at night), tingling/burning sensations, swelling (including cyst-like swellings), dry palms,clumsiness, muscle weakness, muscle spasms, restricted joint movement or cracking. In theearly stages of an RSI, the worker may experience aches or fatigue when performing his/herwork, but the injury does not interfere with the worker’s ability to do the work, and symptomsdisappear when the work is finished. An RSI can heal completely if treated in its early orintermediate stages.

RSIs can result from a number of different work conditions, including inadequate rest breaks,lack of job variation, fatigue, psychological pressures, poor workstation design, improper use oftools and equipment, returning too quickly to repetitive work after extended holidays or illness,increases in workload and/or hours, etc.

All tasks performed by workers should be assessed for RSI hazards. Modifications to workstations that pose RSI hazards, such as the provision of anti-fatigue floor mats or duck boards forcutters to stand on in the Wardrobe Department, should be sought-after solutions.

Employers and workers should also be aware of the symptoms and dangers of eyestrain that can



be caused by extended work at computers. Symptoms include eye irritation, a burning sensation,dry eyes, headaches and blurred vision. Board operators and stage managers should pay specialattention to the duration of time spent focusing on a computer screen/board if lighting levels inthe booth are low.

Noise in the Workplace—OHS Code, Part 16

Common sources of hazardous noise in the theatre industry include sound cues and specialeffects, pyrotechnics, gunshots, live music, feedback, shop noise/tool noise, etc. Everyone in theindustry, from sound designers and audio technicians to performers/musicians, crew andcarpenters, needs to be aware of the dangers of excessive noise and know how to protectthemselves from hearing damage. Hearing damage is both cumulative and permanent, and itseffects often go unnoticed until loss of hearing due to aging exposes prior damage.

Legislated Requirements• Workers should not be exposed to noise that exceeds occupational exposure limits (OELs) or

85 dBA Lex.• If workers are exposed to noise exceeding OELs, the employer must develop and implement

a noise management program that measures and monitors sound levels in the workplaceand educates workers.

• Use appropriate equipment for measuring sound levels (must meet the requirements for aType 2 instrument as specified by ANSI Standard S1.43-1997 or an equivalent noisedosimeter).

Occupational Exposure Limits (OELs) define a worker’s maximum permitted daily exposure tonoise without hearing protection. OELs take into consideration the loudness of thenoise—measured in decibels (dBA)—and the duration of exposure to that noise—measured inhours per day. Lex refers to the worker’s level of total exposure to noise in dBA, averaged overthe entire work day and adjusted to an equivalent 8-hour exposure (based on a 3 dB exchangerate). In other words, a worker exposed to 88 dBA for 4 hours or 91 dBA for 2 hours would beexposed to 85 dBA Lex (an exposure equivalent of 85 dBA for 8 hours).

Schedule 3, Table 1 of the OHS Code: Occupational exposure limits for noiseExposure level (dBA) Exposure duration

82 16 hours83 12 hours and 41 minutes84 10 hours and 4 minutes85 8 hours88 4 hours91 2 hours94 1 hour97 30 minutes100 15 minutes103 8 minutes106 4 minutes



109 2 minutes112 56 seconds

115 and greater 0Note: Exposure levels and exposure durations to be prorated if not specified.

Best Practices• Measure and monitor noise levels in all work areas and estimate duration of worker

exposure.• Noise assessments need to be done (or repeated) at the following times:

o when new noise-generating equipment or work processes are introducedo if old equipment seems to get louder over timeo when work practices and/or work procedures changeo if workers complain of ringing in the ears, temporary changes in hearing or increased

levels of noise in their work areao if two people have difficulty communicating or have to significantly raise their voices

when standing 2m apart in order to be heard over background noiseo as part of production planning and design, and during the production process, especially

if a special sound or pyrotechnic effect is addedo in workplaces where noise management programs are in place, the program should be

formally assessed annually• Whenever practicable, worker exposure to noise levels over 85 dBA should be eliminated.• Reduce noise by replacing or servicing noisy equipment, modifying work procedures,

establishing control zones, dampening and/or baffling.• Limit worker exposure to noise. Ensure workers exposed to noise have frequent, quiet

breaks.• Particularly loud sound cues and pyrotechnic effects should be carefully considered. If such

effects are approved, they should be integrated slowly into the rehearsal process andperformers and running crew at risk of exposure should be provided with proper hearingprotection. Post warning signs for audience members if sound cues exceed 85 dBA.

• Reduce surface/floor contact of speakers and monitors. This will increase low-endfrequencies, so the overall sound level will not need to be as high.

• Workers should not be exposed to the backs of open speaker enclosures.• Monitor background music—it should not impede communication or delay progress, provide

a distraction or combine with any other background noise to create hazardous sound levels.• Workers should not be allowed to use personal music devices when working in a shop or

performance space.• Conduct audiometric tests for workers—workers’ hearing needs to be tested to determine the

extent of any existing hearing loss and to monitor for ongoing changes in hearing ability.Results from all worker hearing tests should be documented and kept on file.

• Be aware of ear fatigue. Concentrated listening can be as physically demanding as manuallabour, and after many hours, ears and mental capacity (concentration and judgment) canbecome as tired and strained as any muscle. When/if ear fatigue sets in, the best response isto stop or take a long break.



Working Alone—OHS Code, Part 28

A worker is "working alone" if they are at a work site and assistance is not readily available incase of emergency, injury or illness. At a theatre, this could be a scenic artist who works aloneovernight to do touchups on a set, an assistant stage manager who comes in to preset beforeanyone else is in the building, the lone props department worker who goes to the storage facilityon their own, etc.

Legislated Requirements• Employers must ensure that an effective communication system is in place between a worker

who works alone and persons who can provide assistance in case of an emergency, illness orinjury.

• This may include one or more of the following methods:o radio, telephone or other electronic communicationo visiting or contacting the worker at intervals appropriate to the nature of hazards of the

work

Best Practices• Employers should ensure that no worker undertakes dangerous work while alone. This

includes using power tools and equipment, working at heights, moving/lifting heavy items,doing electrical work, etc.

• Workers should always inform their employer where they will be working and to what timethey will be engaged.

• Workers should arrange for assistance from another person who can provide helpimmediately when working alone.

• A formal check-in procedure should be established with the employer where applicable.• A family member (spouse, child, close friend, roommate, etc.) cannot substitute for an

employer.• Workers should know where First Aid supplies, fire extinguishers, telephones and emergency

evacuation routes are before they find themselves working alone.• Employers should do everything practicable to ensure the security of their facility and

workers. Consider installing an emergency telephone and/or security system.• Encourage and/or require workers to lock doors when working alone in the box office, lobby,

etc.• FOH workers must be able to reach Stage Management immediately during pre show,

performance and intermission and vice versa. This can best be accomplished via an intercomsystem between the lobby and the Tech Booth.

• Have Stage Management and FOH team members leave the theatre together at the end of theevening/performance.



3. Chemical Hazards

Workplace Hazardous Materials Information System (WHMIS)—OHS Code, Part 29

The Workplace Hazardous Materials Information System (WHMIS) is a comprehensive nationalprogram that provides information on the safe use of hazardous materials (“controlled products”)in Canadian workplaces. The information is provided by means of:

1. Product labels (supplier and/or workplace labels)2. Material Safety Data Sheets (MSDSs)3. Worker education programs

Controlled product is the name given to products, materials and substances that are regulated byWHMIS legislation. All controlled products fall into one or more of six WHMIS classes. TheWHMIS classification system groups products with similar properties or hazards.

1. Compressed Gas2. Flammable and Combustible Material3. Oxidizing Material4. Poisonous and Infectious Material5. Corrosive Material6. Dangerously Reactive Material

Controlled and/or hazardous products are commonly used and/or found in many areas of theatre.Some examples include:• Maintenance – cleaners, asbestos• Props – paints, resins, adhesives, fiberglass, lubricants, barge, vacuform, two-part foams• Scenic Art – paints, lacquers, stains, solvents• Scenic Construction – adhesives, welding gases, dusts from lumber (can be carcinogenic or

contain arsenic, styrene or formaldehyde)• Stage Crew – atmospherics (fog, smoke products), compressed air, solder• Wardrobe – dyes, shoe sprays and polish, adhesives, laundry products, dry cleaning fluids,

pigments, glues, bleach

Every product and material controlled by WHMIS must be accompanied by its own MaterialSafety Data Sheet (MSDS). MSDSs must not be more than three years old. The MSDS mustinclude:• the potential health effects of exposure to the product• how to work safely with the product• hazard evaluations on the use, storage and handling of the product• personal protective equipment needed• emergency procedures related to the product

Legislated Requirements• Suppliers (those who sell or import products):

o Label the product or container.



o Provide MSDS to customers.• Employers:

o Establish education and training programs for workers exposed to hazardous products inthe workplace. WHMIS training is available through many different organizations ortraining can be conducted at the workplace, either with a printed package or usingcomputer-based training programs.

o Ensure products are labeled.o Ensure a current MSDS for each product is readily available to workers.o Post WHMIS and MSDS information in a visible area at the work site and make copies

available to any worker who requests them.o Familiarize yourself with all known biological and chemical hazards associated with a

given product—including its potential reactive capabilities when combined with or storednear other products—as well as that product’s individual ingredients.

• Workers:o Participate in training.o Apply safety practices they have learned when working with hazardous materials.o Inform employer of missing labels.o Don’t rely on a supervisor to protect you.

Occupational Exposure Limits (OELs) for hazardous substances are listed in the OHS Code andare based on the duration of exposure as well as the concentration of the contaminant. TheseOELs apply to both workers directly involved with tasks using hazardous substances andworkers who may be exposed to the substances indirectly from these operations. OELs representstandards to protect the healthiest workers over an eight-hour workday, in a 40-hour week.

Best Practices

Purchasing• When purchasing products, consideration must first be given to less hazardous or non-toxic

alternatives. Substitution is usually more cost effective than engineering controls.• Ensure all controlled products are labeled and accompanied by an MSDS at the time of

purchase.• All original MSDSs should be inventoried and kept in a central library, with notes indicating

which department will be using and storing the product. Production Managers are goodcandidates for this responsibility.

• Copies of MSDSs should go with the product to the department or worker who will be usingand storing the product.

• It is important to keep an up-to-date library and inventory of all controlled products.• Ensure that products are approved by municipal wastewater and other bylaws.• MSDS information for many dyes used in the Wardrobe Department and products used to

create smoke and fog effects is protected through trademarks or copyrights. Manufacturersonly have to supply the names of hazardous chemical ingredients as deemed by thegovernment; they are not required to declare the complete ingredients list. Wheneverpracticable, use products that are accompanied by complete MSDS information.



Material Safety Data Sheet (MSDS) Libraries• WHMIS requires that all MSDSs be no more than three years old.• Expired MSDSs should be reported immediately to the person responsible for the library.• The master MSDS library should be kept in the office of the Production Manager or the

person who is responsible for ensuring that the library is kept up to date.• Complete MSDS libraries should be available in all locations where controlled product is

used and stored. Suggested locations include: Scenery Shops, Props Shops, Wardrobe Shops,Technical Directors’ Offices, etc.

Training• All workers, including volunteers, who work with or in proximity to hazardous materials

should receive WHMIS training. Depending on the size and structure of your theatrecompany, you can set up WHMIS training onsite for workers or require workers to seektraining themselves and provide proof of completion.

• Do not allow workers to use any hazardous materials unless WHMIS training has beencompleted and the worker is fully knowledgeable about a product’s potential hazards, safehandling requirements, first aid, personal protective equipment required, proper disposal andspill handling techniques as outlined in a product’s MSDS.

• Offer and review training annually.• Keep written records of training on file.

Use and Storage of Controlled Product• Store all controlled product according to manufacturer’s specifications. Use fire cabinets

where appropriate and necessary.• Make sure that all product containers have either a supplier label or workplace label. Always

make sure to add a workplace label to a container:o when transferring product from one container to another, if someone will be using the

product other than the person who transferred the producto when adding controlled products to other products (for example, when adding colourants,

metallic pigments, solvents or drywall fillers to latex paint)• Never smell a container to determine its contents.• Remove all potential sources of ignition before starting work with controlled substances that

pose a fire or explosion risk. This includes naked flame, cutting and welding torches, gasfired heaters, portable lamps and any material that may give off sparks—whether electrical,mechanical, friction or static. Post “No Smoking” and “No Welding” signs.

• Make sure approved respirators, eye protection and any other protective equipment requiredfor the job are worn.

• Use good hygiene practices:o workers should not eat, drink or smoke where work is taking placeo workers should wash hands and face thoroughly before eating, drinking or smokingo clean up spills promptly and properlyo clean clothing, brushes, etc. thoroughlyo ensure materials are disposed of properly

• Ensure unprotected workers and visitors do not enter work areas where controlled product isused.

• Subcontract dyeing work if you do not have the appropriate facilities.



• Metal shutters and gobos can overheat and in doing so burn off dust or other materialcreating potentially hazardous fumes. Always turn off lamps when they are not needed toprevent overheating.

• Rotate workers through jobs to decrease exposure to controlled products.• Give workers with high exposure times to controlled products extra breaks.

Painting• Do not take more paint out of storage than you can use in one day.• Painters need to be particularly aware of the hazards of working with:

o silica—found in concrete and fillers/stuccoso chromium—a metal found in pigmentso lead—a metal found in pigmentso propylene glycol—common solvent found in most paints, especially water-based paintso iron oxide—found in pigments/paintso Isocyanates—aerosols and vapours from polyurethane paints and varnishes; two-part

foamso solvents—the most common hazardous product used in painting; found in paints, inks,

varnishes, shellacs, lacquers, waxes and fixatives and may be used to thin and clean upmaterials; includes turpentine, paint thinner, mineral spirits, methyl alcohol, ethylalcohol, acetone, toluene, xylene, ethyl and other acetates and petroleum distillates, aswell as benzene and styrene

• Ventilation systems should be implemented in any area where paints are used or stored.Ventilation systems include both local exhaust ventilation (spray booths, fume hoods, etc.)and dilution ventilation (fans).

• Check ventilation systems to make sure they are on and working correctly before painting.• All spray operations must be done in an enclosure, spray booth or outdoors. Post signage

nearby to warn others.• Electrically ground all spraying equipment.• Do not use conventional sprayers for small jobs.• Roll paint when possible.• Use rollers with long handles to increase distance from products.• Use dilution ventilation (fans) for large sets that cannot be painted in spray booths.

Atmospherics (Smoke and Fog)

Atmospherics refers to anything that falls or rises through the air of the theatre—fog, haze,smoke, bubbles, simulated snow, etc. There are a wide variety of products and machines used tocreate these effects, with varying degrees of hazards.

Common Types of Fog and Smoke Products• dry ice—generally considered the safest method of producing stage fog• glycol-based products—mixtures of water and polyfunctional alcohols; propylene glycol and

butylene glycol are the least hazardous of these products available• oil- or petroleum-based products• chlorides—ammonium chloride (Sal Ammoniac Powder) and zinc chloride (used in smoke

cookies, smoke pots, smoke candles, smoke bombs, etc.); only ammonium chloride is



recommended• organic materials—frankincense, paper, rosin, charcoal, tobacco, rubber, pyrotechnics, etc.

(these smokes are irritating and generate carbon dioxide, carbon monoxide and other toxicgases, vapours and/or fumes)

• A/B (Acid and Base) Smoke—highly irritating and toxic; use is not recommended

Best Practices• Always consider alternatives to open flame wherever possible. In accordance with Section

2.4.3 of the Alberta Fire Code, the fire authority having jurisdiction must approve all use ofopen flame on stage, including candles and smoking. The Fire Department can insist that anofficer be present during any use of open flame in rehearsal or performance.

• If open flame on stage is approved, have a designated fire watch on hand and ensure duediligence with respect to fire extinguishers, fire extinguisher training and emergencyevacuation procedures.

• If a production uses open flame, costumes, wigs, props and any set pieces near theflame—including curtain and blacks—should all be made of flame resistant materials ortreated with flame retardant.

• Carefully research available atmospheric products and production methods in considerationof the effect you want to achieve, the venue, the number of workers/audience members whowill be exposed and the length of exposure. All smokes and fogs are easily inhaled and somechemicals used to generated smokes and fogs are toxic.o Only use fog and smoke products accompanied by MSDSs that meet all WHMIS

requirements. MSDSs should clearly identify the chemical ingredients present as well astheir potential hazards and necessary precautionary measures.

o Ensure inhalation hazards as listed (not just ingestion hazards).o Be aware of long-term exposure hazards to products. Many products have been tested for

acute, short-term toxicity only.• Only use fog or smoke products in accordance with manufacturers’ specifications—and

never alter these products in any way, for example by adding dyes, fragrances or additionalchemicals. Coloured fog can be achieved using coloured light.

• Only use machines specifically manufactured and designed for generating stage fog andsmoke, and in accordance with manufacturers’ specifications.

• Use the minimum concentration of product for the minimum period of time necessary for theeffect.

• Have measures in place for exhausting smoke and fog products from the stage/house afteruse. Always exhaust away from the audience and orchestra pit.

• Many products condense and create slippery conditions on the stage floor and other objects.Ensure performers and crew have appropriate footwear and use extreme caution in thesesituations.

• Special consideration should be given in situations where productions involve strenuousphysical activity and singing, as well as live musicians, as deep breathing increasesinhalation hazards. In addition, children, the elderly, people with respiratory problems suchas asthma, pregnant women and people with serious illnesses are at increased risk ofcomplications caused by atmospheric products.

• All workers should be informed in advance of the intention to use smoke, fog or open flamein a production and the type to be used. MSDSs must be made available and posted on the



callboard. Workers should be given instruction/training in the safe handling and use of theproducts.

• Respirators with appropriate filler cartridges should be available for any worker who needsor requests one.

• Post warning signs at audience entry points to the theatre.• Individuals who experience adverse reactions to fog and smoke exposure should be

immediately removed to a well-ventilated area and the designated First Aid provider shouldbe notified.



4. Biological Hazards

Biological hazards in the theatre industry exists largely, although not solely, in the Wardrobe andMakeup Departments.

Best Practices for Laundry• Costumes may contain sweat, blood and other bodily fluids and should be treated and

handled with care.• Frequent laundering of costumes (every two to three performances) minimizes hygiene

hazards for both performers and costumers doing laundry.• Costumers should wash their hands frequently and thoroughly when doing laundry.• Costumers should communicate allergy concerns to a supervisor or wear rubber gloves to do

laundry if necessary.• Use “pit pads” for performers who sweat heavily—recycled shoulder pads sewn into the

armpits of undershirts, shirts, etc.• Costumes should be allowed to dry completely following performances.• Proper labeling of costume articles, especially undergarments and hosiery, is important to

prevent cross-contamination.

Best Practices for Makeup• Both street makeup and stage/special effects makeup can pose allergy and irritation hazards.• Before applying any cosmetic or makeup product the makeup artist should:

o take time to read and follow the manufacturers’ instructionso be aware of the potential hazards of productso ensure the subject will not be injured through the misuse or misapplication of the producto check that the subject has no known allergies to any of the products to be used

• Observe good hygiene practices at all times.• Do not share containers of any form of cosmetic (skin, eye or mouth). Divide product into

personal/labeled containers or scoop a small amount of product onto a wooden spatula beforeapplying it to the subject's skin.

• The wooden spatula and any surplus makeup product on the spatula must be disposed of andnot used again.

• Disposable sponges, powder puffs, brushes, etc. should be used. They should never be usedtwice as these items are difficult to effectively sterilize.

• Non-disposable makeup applicators should not be shared between subjects and must beeffectively sterilized after use.

• Avoid the sharing of towels. Use individual towels or disposable towels.• Skin rash, red or painful eyes and/or soreness of the mouth are signs of a possible infection.

The individual should see a physician in case medical treatment is necessary.• If an individual with obvious skin, eye or mouth infection has to be made up, the makeup

artist must use only disposable applicators and wash his/her hands after completing themakeup before moving on to another subject.

• Hair combs, brushes, etc. should be cleaned and sterilized between subjects.• Wigs should never be shared between performers.



I performed in a production in which three actresses played characters with hideous facial scars.A cast member recommended a makeup solution—applied with a brush similar to one for nailpolish—that caused temporary skin tightening and dryness, creating a realistic-looking scar.Unfortunately, the solution stung the actresses and the tightening process was extremely painful.Although we had a short run, by closing night the actresses were applying the makeup at the lastminute before going onstage or leaving the makeup on between shows to minimize theirdiscomfort (never mind if they had to go out for food). In the end, each actress had prominentred lines on her cheeks that took days to disappear. Later the cast member remarked that he hadnever before seen that product used on the face…



5. Psychological Hazards

Psychological hazards in the workplace are as real as physical, chemical and biological hazards,although less tangible/more difficult to identify and control (and there’s no personal protectiveequipment available!). Psychological hazards should be treated with the same care and attentionas all other identified hazards; employers and workers need to work together to ensure the mentaland emotional health and safety of everyone at the workplace.

Workplace Violence—OHS Code, Part 27

Violence in the workplace is a formal hazard recognized by Alberta Human Resources andEmployment. Possible causes of violence/violent behavior, both between workers and/orpatrons, should be identified and steps taken to minimize the risk.

Patrons may become violent if late for a performance and refused entry, if the performance issold out, if alcohol is involved, etc. The Front of House Department should have formal, writtenprocedures in place for reporting, investigating and documenting incidents of harassment orverbal and physical abuse. Front of House workers should be trained in diffusing tense customersituations before they escalate. This can be as simple as remaining calm and using specificphrases or tactics to find a solution to the problem, accommodate the patron as far as practicable,or offer the patron the opportunity to address their concerns to a supervisor or facility manager.

FOH workers should also be trained in proper procedures for safely confronting an intoxicatedpatron. In the case of hazards presented by intoxicated patrons, Front of House workers shouldbe required to take formal bartender training through the Alberta Server Intervention TrainingProgram (ASIP) offered by the Alberta Gaming and Liquor Commission (AGLC). As ofJanuary 2007, the Alberta Gaming and Liquor Commission requires all Front of House personnelwho are serving alcoholic beverages to be certified through the Alberta Server InterventionTraining Program (ASIP)—including all volunteers.

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