Building a Theatre Safety Program by Teqniqal Systems, LLC

Teqniqal Systems

Building a Safety Program within Your Theatre Curriculum Author:

Erich Friend

Author Bio: Mr. Friend has been involved in Theatre Consulting for over thirty years and is a ‘safety evangelist’ for the performing arts. He has been a past Health and Safety Commissioner for USITTTexas, and is currently working with Texas Educational Theatre Association (TETA) and the University Interscholastic League (UIL) to improve theatre safety standards and awareness in the scholastic environment. His company, Teqniqal Systems, LLC (www.teqniqal.com), provides technical systems designs and safety program development services. He also authors the Theatre Safety Blog at www.TheatreSafetyBlog.blogspot.com

Date:

2009-08-15

Summary: Working with your school district to get a Theatre Safety program in place must be a collaborative effort to keeping staff, guests, and the public in good shape. This article discusses some of the considerations to be made when developing that program. Copyright © 2009. All right reserved worldwide.

Fort Worth, Texas

www.teqniqal.com

817.249.4024

Co n s ul t ant s Spe ci ali z i n g in Pe r f or mi ng Ar t s Te c hnol ogy a nd Saf e t y

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Building a Theatre Safety Program

Teqniqal Systems

Working with your school system to get a Theatre Safety Program in-place must be a collaborative effort. If you don't get everyone involved, then there is no buy-in, and hence, no support or interest. There are many different facets of this issue, and for many it can even be a touchy political issue. Let’s look at who you should invite to the party. • All those that use the Theatre / Auditorium o Drama Department o Choral Department o Band Department o Dance Department o Leading Students and Staff from any of these programs o Others? •

Principal / Vice Principals

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Facility Manager

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School Safety Officer (not the top cop, you want the person with the OSHA training classes - in most schools if you say 'safety' they think tornados and students with weapons, so make sure you get the ‘safety’ person, not the ‘security’ person)

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Superintendent (he'll want to 'look good', so student safety is always a priority)

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Shop Teacher (may be able to help with tool safety and training)

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Any School Board / Trustee Member that is interested-in or supports fine arts programs (allies are always good)

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The Physics teacher (great for training students about electricity and counterweight rigging – think: STEM turning into STEAM)

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The Chemistry teacher (knows chemical Hazmat & MSDS procedures)

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School Risk Assessment Officer (handles insurance-related items)

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Head of Maintenance (“Fixing” safety related issues may fall under their duties)

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A Theatre Safety Specialist (consultant) - has broader knowledge of likely problems (if they don't: then get another!)

You can start the process by putting together a list of concerns. This would involve taking stock of the many different aspects of your facility and doing some soul-searching on your own. Be dispassionate and neutral in your documentation, so as to put the focus on the program and the facility, not on yourself. •

Take pictures of dangerous equipment (for examples, see the Theatre Safety Blog at www.TheatreSafetyBlog.blogspot.com)

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Document a history of accidents and 'close calls' that have occurred. No need to name names or get anybody in trouble here, just the facts: o The nature of the incident o The type of Injury, or potential injury to personnel o Any Damage caused to equipment or the building o Any Expenses incurred to repair or correct the problem

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Building a Theatre Safety Program

Teqniqal Systems

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Make a list of Safety Improvements you think you may need.

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Make a list of Safety Equipment you think you may need.

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Make a list of Safety Training you think you may need.

A well organized presentation shows the other people in the meeting that you are serious and that you want to make Theatre Safety a fundamental component of the school programs. When you are going to meet for the first time, conduct the meeting with visual aids like PowerPoint presentations, posters, and some educational materials for those less knowledgeable about the inner workings of the theatre plant. Hazard Recognition Theatre Safety Programs are abstract because the dangers are abstract: It’s difficult for someone unfamiliar with a fly system to visualize the dangers of a run-away line set; or for someone that does not understand that scenery and props are all fabricated from wood, paper, and cloth to understand the fire hazards associated with scenery, props, and costumes. Each step of the way you need to explain the production need so they can see where the hazards lie. Maybe hold the meeting right on the stage so you can point to things as you go. The task of the Theatre Safety Program team is to educate the users (staff, students, and guests) about hazard recognition. If you can see the problem, or the potential for a problem, then you can formulate a solution that addresses the issue in a manner that does not hinder the production. Most problems start-out small and through misinformation, neglect, or complacency become a big problem. If you have a hundred people in your theatre that are all looking for hazards, suggesting solutions, and watching each-other’s back, you will be much safer than in an environment where everyone just does as they please with total disregard for each-other and the facility. “We the unwilling have had to do so much with so little, for so long, that we are now capable of doing anything with nothing.” Hazards are many times of our own doing. Theatre people have learned to “make do” for many generations, and the inclination to do “whatever it takes” to mount the show can frequently lead to poorly planned actions and some very unsafe “make-do’s”. Don’t fall into that trap. Recognize the limits of the show resources (time, manpower, money, equipment, etc.) and don’t allow anyone to compromise safety just to pull-off some stunt or special effect. Denial isn’t just a river in Egypt Many people aren’t comfortable discussing safety issues. This awkwardness comes from a fear that if they say anything, or acknowledge that there might be a problem, then somehow they are increasing their risk of a lawsuit or maybe loosing their job. Nothing could be farther from the truth. Denial takes many forms: •

Naïveté

They can’t possibly believe that someone would actually do that . . .

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Ignorance

They have never heard or seen any indication that a particular practice or type of equipment could be dangerous. They do not understand what OSHA, NIOSH, and the NFPA does.

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Historical

Their grandfather “never had to worry about that” . . . or their father “never got hurt doing that.”

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Building a Theatre Safety Program •

Suspicion

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Financial

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Thinks “safety” is just a ploy to get people to buy unnecessary stuff. It’s just a way for people to make money. Thinks safety programs cost too much money and have little or no “Return On Investment”.

Of all these, Ignorance seems to be the worst problem. When accidents happen in the theatre, it usually doesn’t make the front page news, if any news. However, with just a little bit of research, it is quite simple to find numerous accounts of performers, technicians, and audience members that are injured or killed each year. Incidents range from minor cuts, broken bones, and burns, to paralysis from falling into orchestra pits; and deaths by electrocution, “prop” guns, falls from height, and being crushed. Fires are also frequent and varied in their level of damage. These accidents happen in many areas of the performing arts – film production, concert tours, church productions, circus, and general theatre; and they happen in venues ranging from K-12 schools, colleges, non-profit playhouses, municipal theatres, and professional event venues. If your staff and students work in the theatre, now, or in the future, they are at-risk. Teach them the skills they need so they can recognize hazards and know what their worker rights are. Get a Second Opinion This is where a consultant, code official (i.e. the Building Inspector or Fire Marshall), or an OSHA outreach advisor can really help. You are not a doctor. You are not a lawyer. You are not a licensed engineer. You are not a fall protection expert. Bring in professionals to help. Theatre Consultants can be a valuable first step as they “get” theatre and the strange constraints that productions place on possible solutions. They also are very familiar with the abilities of Architects, Engineers, OSHA, and other Design Professionals. They can help you discover and recognize the unique challenges and potential problems that are specific to your facility and staff, and them help you the find the right resources to get the issues resolved in a manner that satisfies the letter of the law while being cognizant of the realities of theatre productions. A good consultant can help you articulate the need for safety corrections with your administration and assist you with budgeting these efforts. The Elves and Fairies Don’t Come in the Night You are going to have to educate many of the meeting participants about how the magic of theatre actually happens. Start out with a broad explanation of the myriad of people that it takes to mount a show, explain the odd working hours, the various skill sets involved. To communicate is the beginning of understanding. Each aspect of a theatre program has an associated safety issue. When you make a list of production tasks, each item will have numerous safety considerations. Work them right into the lecture, class, workshop, rubric, test, example, and homework assignment. Theatre Safety is not just about the rigging, it is about all potential sources of injury or property damage - Mechanical, Electrical, Thermal, Chemical, Personnel, Equipment, Procedures, Facilities, & Training as they apply to each task. After you get the ball rolling (or maybe if you can't get the ball rolling) invite the local Fire Marshall (they are a great resource for Fire Extinguisher training) and an OSHA outreach agent (yes, there are ‘white hats’ at OSHA, too). You can’t buy or download a Theatre Safety Program A Theatre Safety program must be built by all the participants from the inside-out, otherwise no-one will be interested or involved, nor will they maintain it. Task your students with safety education. Don’t just tell them what they can and cannot do – make them discover it themselves by researching OSHA, 2009-08-15

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Building a Theatre Safety Program

Teqniqal Systems

NIOSH, and the NFPA, and have them report back with the facts. Keep each task small (no one wants to read the entire OSHA manual), like ladder safety, hand railing safety, etc. Get buy-in by encouraging the participants to identify safety concerns and be involved in the discussion about how a problem is resolved. No one should be chastised for reporting unsafe conditions or procedures. A cautionary note: There are many very good examples of Theatre Safety Policy Manuals available on the internet. There are also some bad ones. It’s OK to use samles as references and idea resources, but don’t blindly copy anything from them without fully understanding it and having a good idea as to how it may specifically apply to your facility and staff. Of particular concern is any content that is venue specific (i.e. names, addresses, phone numbers) as this could inadvertently cause someone to call service or emergency personnel in a town hundreds or thousands of miles away. Safety Manuals are venue specific. Your manual is for your theatre, not someone else’s. Another way to get casual involvement is to invite the students to make safety signs, posters, t-shirts, buttons, and daily safety passwords (you can’t get the password unless you attend the safety meeting, and you can’t get onto the stage or shop if you don’t know the password . . .) Keep it frequent Meetings of the Safety Committee should meet regularly to keep momentum with the program, update each-other on progress being made in making improvements, and to discuss both new issues and unresolved past issues. This is a good time to issue updates and revisions to documents and policies. A successful Theatre Safety program will address a safety topic every class period and in every rehearsal (just a couple of minutes will do after you get past the basics). You have to keep the idea of safety out front (downstage center!) during production meetings, mounting, and striking shows, too. At every opportunity, you have to get the staff and students to ask themselves: “Is this safe for the cast, crew, and audience?” XSR:Die! 1 is not acceptable. One of the most important points that you can drive home is that you must have a Theatre Safety Program. This is not an option. Do not consider yourself exempt (even if you believe you are, you probably aren’t). OSHA requires that you have a safety program and that you keep thorough records of who is trained and allowed to perform different tasks. Get to know the OSHA Part 1910 and Part 1926 regulations - they can save your collective bacon. Of course, understanding the NFPA Fire Codes and the NFPA Electrical Codes (NEC) will help, too. “Oh, but we are exempt!” Exempt, not exempt, that is the question (but not the point). It really shouldn’t be an issue. When you work in the performing arts, you move around from city-to-city, state-to-state, and even travel abroad. Rules change, liability and insurance rules change, and medical coverage changes. Exempt (or not) is NOT the point. Safety rules are minimum requirements that are developed by experts in an attempt to keep people healthy and alive. Treat your students, staff, and facility as if it was a world class venue subject to all the rules. It will develop a culture of safety that will serve everyone well as they go forth and work in any industry. Generally speaking, if you can show the school the rule that must be followed, and explain to them why that may be in their best interest, you can usually get funding to fix things and provide Personal Protective Equipment (PPE) that doesn't come out of your theatre budget. 1

XSR:Die! Is actor/writer/director Kurt Kleinmann’s shorthand instructing the actor to “Cross Stage Right and Play Dead”

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Building a Theatre Safety Program

Teqniqal Systems

And lastly, be sure to explain that a Theatre Safety Program is focused on accident prevention. Many schools have an 'emergency preparedness plan' that deals with 'what to do once the horse is out of the barn', but they incorrectly call it a 'safety plan', and therefore, think they have a Theatre Safety Program. They don’t.

“Play Safe.” Don’t “Play at your own risk.” Follow-up Resources: OSHA:

www.osha.gov

NIOSH:

www.cdc.gov/niosh

NFPA:

www.nfpa.org

PLASA:

www.plasa.org

USITT:

www.usitt.org

ESA:

www.eventsafetyalliance.org

IAVM

www.iavm.org

ADA:

www.ada.gov

Good Books: Stage Rigging Handbook (3rd Edition) - Jay O. Glerum – ISBN 0-8093-2741-4 –or- 978-0-8093-2741-6 Practical Health and Safety Guidelines for School Theater Operations - Assessing the Risks in Middle, Junior, and Senior High Schools – Dr. Randall Davidson – ISBN 0-9774525-0-6 Heads! & Tales – Bill Sapsis – ISBN 978-0-9797039-0-4 The Health & Safety Guide for Film, TV, & Theater – Monona Rossol – ISBN 1-58115-071-7 The Event Safety Guide – www.eventsafetyalliance.org NFPA 101 - Life Safety Code – www.nfpa.org NFPA 70 – National Electric Code – www.nfpa.org

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