OSHA issues fines for Stage Manager killed in blast

2016-02-03 -Last summer we reported about an incident in west Texas where a Stage Manager was killed when a pyrotechnics storage bunker for an outdoor show exploded  (http://theatresafetyblog.blogspot.com/2015/08/fireworks-storage-building-explodes-and.html)

OSHA has now investigated the incident and issued a statement:  “A 21-year-old worker, with three months of work experience under her belt, lost her life because Texas Panhandle Heritage Foundation failed to provide appropriate training and protective equipment to workers handling pyrotechnics.”

That was the assessment of Elizabeth Linda Routh, OSHA’s area director in Lubbock, Texas, after a young worker was fatally injured last summer while taking an inventory of the pyrotechnics for an outdoor musical production at the Palo Duro Canyon State Park in Canyon, Texas.

After an inspection following the fatality, OSHA issued six serious citations for failing to train workers on the use of explosives, provide fire retardant clothing, perform a hazard assessment and develop a written hazard communication program.

Proposed Penalties: $42,000

Texas Panhandle Heritage Foundation is a performing arts employer.

------------------

Although $42,000 may not seem like much for a human life, this assessment of the situation opens the door for civil litigation so the victim's family can pursue further compensation.

What's actually dangerous (besides your theatre)?

The folks at ComplianceAndSafety.com put together this interesting infographic:

 

You are more likely to die falling into the orchestra pit.

 

You are more likely to die falling from a truss or catwalk.

 

You are likely to be injured in the shop.

Cirque du Soleil suffers tragic loss of performer during show accident

MGM Grand, Las Vegas, Nevada - Saturday, June 29, 2013.   In a yet-to-be-explained equipment failure, one of the aerial performers in Cirque du Soleil's KÀ fell about 50 feet from above the show's massive 3-axis moving stage into the forestage pit during the fight scene at the end of a performance.  The pit is nearly 4 stories deep.  Sarah Guyard-Guillot, 31, mother of two, came loose from her safety cable and disappeared into pit unexpectedly.  The show was halted, the audience informed that they could obtain replacement tickets for a future show, and were dismissed.  The show has been suspended indefinitely pending an investigation into the root cause of the accident.  Guyard-Guillot, mother of two young children, was pronounced dead at a hospital late Saturday night.  It is reported that her safety harness was intact with her costume when she was recovered from the accident site.  She was a trained acrobat and aerialist, originally from Paris, France.  She had performed in the industry for about 22 years.

Sarah Guyard-Guillot  1979-2013

This is the first performance-related death that the troupe has experienced in over 30 years of show production.*  Guyard-Guillot was one of the original performer's in the KÀ show when it opened in 2006, and had performed the show since then.

An extremely through and rigorous safety program is entrenched in the companies' culture, so this has been shock to those that work the shows in a tight-knit group.  Cirque's safety managers have been very transparent and informative by sharing their safety culture and knowledge at numerous industry events like the annual USITT convention, LDI convention, and UNSCA's Entertainment Innovation Conference.

The death comes at an unfortunate time for the circus, a reportedly $1 Billion (US) company which employs 5,000 people globally, including 2,000 at its headquarters in Montreal, Canada.  Cirque maintains around 19 touring productions in operation worldwide, yet has recently reduced it's workforce and is trying to reign-in its expenses.

Cirque du Soleil's founder, Guy Laliberté, said in a statement:  "I am heartbroken. I wish to extend my sincerest sympathies to the family. We are all completely devastated with this news.  Sassoon was an artist with the original cast of KÀ since 2006 and has been an integral part of our Cirque du Soleil tight family. We are reminded, with great humility and respect, how extraordinary our artists are each and every night. Our focus now is to support each other as a family. " 

A thorough write-up about this incident can be found at Jim Hutchison's Jim On Light site:
www.jimonlight.com/2013/07/01/tragedy-at-ka-in-las-vegas-sarah-guyard-guillot-falls-to-her-death-during-final-fight-scene

Local news coverage:
www.kctv5.com/story/22726807/spectator-on-cirque-death-i-thought-there-was-a-net

www.lasvegassun.com/blogs/kats-report/2013/jun/30/cirque-suffers-another-accident-artist-falls-ka-mg

~*~*~*~*~*~*~*~

* In 2009, a Cirque performer died in Montreal after sustaining head injuries from falling off a trampoline during training. Oleksandr Zhurov, who was 24, hailed from the Ukraine and was known as Sacha. There also have been several injuries during Cirque performances in the last decade. Actors have been hurt during performances of "Zumanity" in Las Vegas, Nevada; "Corteo" in Portland, Oregon; and "La Nouba" in Orlando, Florida.

The same night as the deadly fall during KÀ, Cirque's newest show, "Michael Jackson: ONE," held its opening night performance at the Mandalay Bay Resort and Casino in Las Vegas. That production experienced its own trouble the previous week.

On Wednesday, June 26, 2013, Cirque reported that an acrobat taking part in one of the final preview performances suffered a mild concussion after slipping through slack rope in the show's "Stranger in Moscow" scene. That performer, who is expected to return to the production, missed a protective pad below the actors and landed hard on the stage.

~#~#~#~#~#~#~#~#~#~#~#~#~

FOLLOW-UP

OSHA FINES CIRQUE DU SOLEIL AND MGM GRAND
FOR PERFORMER'S DEATH AND OTHER CONCERNS

2013-10-29  - Nevada OSHA has finished its investigation into the death of Sarah Guillot-Guyard, the Cirque du Soleil performer who fell 94 feet during the climactic scene of Ka on June 29, 1013 and later died.  OSHA determined that accident happened when the wire rope she was suspended from broke. According to the report, the wire rope “was severed due to the rapid ascent of the performer, ultimately causing the rope to be freed from the sheave/pulley and scraping against a shear point.”  OSHA officials cited Cirque du Soleil with six proposed citations and more than $25,000 in fines and MGM Grand with three citations and a $7,000 fine.  Cirque du Soleil and MGM are appealing the fines.

One of the citations for Cirque du Soleil includes a failure to “protect or prevent Ka employees from striking an overhead grid during the Ka show at the Ka Theater.” Reporting for the Las Vegas Sun, John Katsilometes wrote that “This matches reports from those familiar with the Ka staging and fatal incident that Guillot-Guyard did hit the metal grid over the stage as she ascended high above the Final Battle scene, which jarred the rope connecting her to her harness.” Katsilometes also reported that Cirque du Soleil will be appealing the fine:

    In a statement that also referenced Cirque’s internal review of the incident, [Cirque du Soleil spokeswoman Rene-Claude Menard] said: “Cirque du Soleil completed an exhaustive review of its safety policies and procedures in the wake of the tragic accident involving Sarah. We have redoubled our efforts to ensure the overall diligence and safety of our performers and crew. We have received and reviewed the OSHA citations. We have initiated the appeal process as part of OSHA’s administrative protocol. Safety always has been the top priority for Cirque du Soleil, its performers and crew members.”

On the KTNV website (www.jrn.com/ktnv/news/Cirque-du-Soleil-MGM-Grand-cited-in-KA-performers-death-229744241.html), Krista Hostetler listed the citations OSHA has proposed. They are:

Summary of Cited Violations

Cirque du Soleil:
- NRS 618.375 (1): A General Duty Citation was issued because the employer did not protect or prevent KA employees from striking an overhead grid during the KA show at the KA Theater. $7,000 proposed penalty.

- The first part of the General Duty Citation was issued because the employer did not provide proper training for the KA Battle Spearman Warrior employee involved in the accident in the use of equipment and tasks used in the Ka show, battle scene at the KA Theater.

- The second part was issued because the employer had a Fall Protection Program with construction requirements that do not apply to theater settings because the KA Theater is regulated by Nevada OSHA general industry standards. $7,000 proposed penalty.

- 29 CFR 1910.132: This citation was issued because the employer did not properly assess the workplace for hazards that required personal protective equipment at the KA Theater, including opensided floors, bloodborne pathogens and other potentially infectious materials, pyrotechnic dust cleanup, and not finalizing a hazard assessment for the performers. $7,000 proposed penalty.

- 29 CFR 1910.132: This citation was issued because the employer did not certify that a workplace hazard assessment had been performed and did not include the date the hazard assessments were conducted. $0 proposed penalty, grouped with the proposed citation above.

29 CFR 1904.32: This citation was issued because the employer did not include on the OSHA Form 300 Log of Injury and Illnesses, the object or substance that directly injured or made a person ill, which prevented a trend analysis and kept the employer from recognizing and conducting employee training involving recurring injuries in accordance with Nevada Revised Statute. $3,300 proposed penalty.

Nevada Revised Statute 618.379: This citation was issued because the employer removed equipment from a fatality site on June 29 before Nevada OSHA authorized the dismantling and removal of the equipment (38 feet of wire rope that was attached to the victim at the time of the accident). $935 proposed penalty.

MGM Grand Hotel & Casino:

- NRS 618.375: This General Duty Citation was issued because MGM Grand employees were exposed to hazards due to deficiencies in the Cirque du Soleil Fall Protection Program with construction requirements that do not apply to theater settings because the KA Theater is regulated by Nevada OSHA general industry standards.

- 29 CFR 1910.132: This citation was issued because MGM Grand employees were exposed to hazards due to the deficiencies in Cirque du Soleil hazard assessments for the KA Theater that included opensided floors, bloodborne pathogens and other potentially infectious materials and pyrotechnic dust cleanup. $7,000 proposed penalty.

- 29 CFR 1910.132: This citation was issued because MGM Grand employees were exposed to hazards due to deficiencies in the Cirque du Soleil hazard assessments because Cirque du Soleil did not certify that a workplace hazard assessment had been performed and did not include the date the hazard assessments were conducted. $0 proposed penalty, grouped with the proposed citation above.
 

Gut Feeling Can Prevent Accidents

A Pat Benatar benefit concert scheduled for Friday, June 21, 2013 was cancelled at the bequest of her stage crew.  Upon arrival to the venue, an outdoor covered arena in Iverness, Florida, the crew was presented with a stage platform that they did not think was robust enough for the show.  Rather than risk the potential for a structural collapse, they requested that the promoter have the stage structure inspected and reinforced.  A local engineer was brought-in to certify the stage, but the caveats included with the inspection did not satisfy them in time to mount the show.

An article at Celebrity Examiner (www.celebrityexaminer.com/2013/06/26/benatar-releases-photos-of-substandard-stage) describes the scenario at length. Below are some picture released by Pat Benatar and her husband Neil Biraldo that show the deficiencies they found.  It is noteworthy that a performer and crew would postpone an event until it can be presented safely, rather than throwing caution to the wind and saying "Damn the torpedos - full steam ahead!

Just because it might have worked doesn’t mean you shouldn’t give it a second look.   If something looks ‘hinky’, give it a good going-over.

WalkerFest Stage
Upstage End Looking Towards Downstage Right

I’ve seen stages with these types of support legs before, and they are generally pretty strong as far as static column loading, which may have been the assumption by the engineer that allegedly certified the stage.  He may have not been considering the lateral dynamics of movements on the stage during load-in, performance, and strike.

The lack of regular diagonal (cross) bracing would make it a wobbly experience.  Note that the 2x4 diagonals shown along the upstage end are not pinned in place to fix their length, instead, they are only pinched against the suport legs with C-Clamps, a connection that can slip loose when loaded becasue it is only held together by friction.

 

WalkerFest Stage
Understage View Looking From Upstage Towards Downstage Right

The understage picture shows the manufacturer’s Quick Connect Braces along the downstage row of support legs, but does not show any other intermediate braces or braces along the side stage support legs.

Surprisingly, the manufacturer’s catalog (www.graniteind.com/DOWNLOADS-SeatingStagingFencing.asp) has a chart of the required number of diagonal braces (not cross-braces) that are recommended for stages of various sizes, and it appears to advocate only installing the diagonal braces at about 50-90% of the perimeter locations, with none at the interior supports; whereas their competitor, BilJax (Model ST8100, www.biljax.com/products/events, also sold as AlphaDeck in Europe, www.alphadeckstaging.com recommends a higher number of X-Braces along both axes and between the interior support legs.

The stage in the photos appears to be about 54” tall (as measured by counting the hole spacing in the legs), and according to both Granite and BilJax, stages over 48” tall should have two sets of braces at the recommended minimum spacing.

Stages need diagonal bracing along both axes,  not just one, and all support legs should be braced to prevent them from being skewed from vertical by unexpected circumstances.

The 2x2 or 2x4 stringers seen running along beside the support leg feet do not appear to be attached to the support legs, but even if they were, they would only serve to keep the feet spaced relative to each-other, not to counteract any parallelogram type collapse of the structure.  Diagonal X-braces would both prevent the legs from tilting away from vertical and provide sway-bracing for the entire stage structure.

The foot-pads on the ends of the support legs are resting on what appears to be a dirt arena floor (but it could be dust on a concrete floor, or a canvas drop-cloth – it’s really difficult to tell from the pictures).  Note the plywood square ‘mud seals’ lying adjacent to each leg – they were NOT installed, so the legs could sink into the surface below if it is not a concrete deck.  The ground surface appears dry in the picture, but that doesn’t mean it will stay dry; nor does it mean that the ground is dry and compacted below the visible surface.

HEY!  Er, ah, HAY!  What's that hay doing under the stage?  It's a fire hazard that should have been removed, too.

Show Some Moxy.  If it 'just don't look right', then verify that it will be safe.  Risk Analysis is part of your job!

Have we learned nothing?

The festival season starts early in the south, and Mardi Gras is one of the first events we see set-up for numerous stages and shows.  Outdoor festival stage canopies have proven to present opportunities for accidents because they have large surfaces that can be caught by side winds and uplifting plow winds.  To counter-act the forces developed by gale-force winds, event riggers rely heavily on large ballast weights to tie-off canopy structures in an attempt to anchor the framework to the ground.

These ballast weights work well if they are massive enough for the predicted winds and effective 'sail area' presented by the canopy roof and side walls.  If they are too light, the ballast weights will just be dragged across the ground and bulldoze a path of their own.  Slippery grass, or dirt that turns to mud, just act as a lubricant to free the ballast weights up for sliding in the event of a downpour, so anchoring or pinning the ballast weights to keep them from moving is also part of a good rigging plan.  (The ballast weights shown above were not pinned or anchored to prevent sliding)

Wind is not a steady-state event.  You know that.  It gusts.  It starts and stops.  It changes direction.  It generally whips everything around a bit as it works it mayhem.  For this reason, we need to use secure connections on the guy wires for the ballast weights and stabilizing X's that are used to stiffen the structures against parallelogram movements.  If you don't, a gust of wind can slack the line, unhook the conenction(s), and you loose all anchoring in the blink of an eye.

As you can see above, the anchor ties used in the blocks in the first picture are common ratcheting tie-downs in the trucking industry, and they only have a open hook at the load securing end.  This may be de rigueur for the transport industry, but it's a no-go for event safety.  If the wind gets to blowin' and this bad boy comes loose, it could rip the flesh right off of someone unlucky enough to get in it's flailing path.

So, it was bad enough to see the above tie-down terminations at almost every corner of the stage, but then I looked further up the anchor line and found this:

Each anchor line had two possible points of failure.  Three stages and a major cable bridge over the street, all in close proximity, four to eight anchor blocks secured in this manner for each one, and two possible failure points per securement.  All of this within a city block of a major open waterway (read: obstruction-free wind-path).  Personally, I don't like those odds.

The City is relying on the Event Producers to Employ Staging Subcontractors that will erect facilities that will be safe for the (possibly highly intoxicated) general public to hang-out around and potentially be leaning-on, climbing on, or even messing with.  Plan for the worst, and you may have a chance of having an incident-free event, but if you leave opportunities for failures in the system like are shown above, be ready to pay the piper (or at least the plaintiffs).

Follow-up to commenter:
If you are going to use ratchet-straps to secure anything (subject to load rating), then utilizing products that have a self-closing clip is highly recommended.  Here is a picture of that type of ratchet and clip:

 

Deist   http://www.deist.com/inline-ratchet-tiedown-p-258.html

It is also recommended to have a wire rope safety cable that runs in parallel with this, preferably one that is only slightly longer than the final tensioned length of the ratchet strap.  This can prevent a total release of the system should the ratchet strap fail.  Fabric based straps and slings are subject to weakening due to abrasion, minor cuts, and rot.  Straps exposed to sunlight have shortened lifespans due to the exposure to UV light which weakens the fibers.

New Reports on 2011 Ottawa BluesFest Staging Collapse

More than a year after the incident (http://theatresafetyblog.blogspot.com/2011/07/ottawa-bluesfest-stage-canopy-collapes.html), a report assessing the damage, probable causes of the damage, and outlining recommendations to prevent a repeat of the day has been published.  Writer Chris Cobb of the Ottawa Citizen newspaper has obtained a copy of the report and summarized it in an article published on November 19, 2012 (www.ottawacitizen.com/news/Finger+points+stage+owner+collapse/7568244/story.html).

The previous day he also published a summary of first-hand accounts by people present during the incident. The article 'Stage fright' can be found here:  www.ottawacitizen.com/news/Stage+fright/7561428/story.html

Photo by: Sandra Luty

One of the key causes of the collapse was determined to be that the stage crew could not remove the stage canopy fabric walls in time to unload the structure from the winds.  The panel ties had been previously removed due to a storm a week earlier, and when the fabric wall panels were reattached, they were re-secured with plastic zip-ties that were too tough to cut with a knife.

Protecting Performers AND the Audience

Unruly spectators can pose a risk to themselves, those around them, crew, and performers.  In rowdy rock concerts with drugs and/or alcohol added to the mix, it can be even more unpredictable.  On May 24, 2010, the lead singer for the heavy metal band Lamb of God, was performing in Abaton, a nightclub in Prague, Czech Republic.

In the course of the show, fans were allegedly enticed to come onstage and dive into the audience for a little body surfing.  Things got out of control and one patron went off of the stage backwards and was not caught by the crowd.  He supposedly struck his head on the floor, but was able to get-up and walk out of the club.  He later collapsed, was taken to the hospital, and remained in a comma for several weeks before dying.

The band's promoter said that they had not heard anything about the pending arrest and had booked dates without any knowledge that the performer might be held accountable for the incident.  The lead singer, Blythe, was arrested June 27th, 2012 as he entered the country to promote the bands newest album.  Blythe has been held by the Czech Republic police awaiting a bail bond hearing since entering the country.  He has been charged with manslaughter.  Several web sites have followed the incident and some have posted cell-phone videos from that night's concert.  Depending who you believe, it may have been an accident, or there may have been other people involved or responsible for the circumstances.

It is important that performers can work safely on stage and not worry about being assaulted by guests, and it is incumbent upon venue managers to see that proper controls are placed between artists and fans.

 ---------------------------------

However, it is not just artists and fans that require protection, either -- on October 30th, 2004 there was an incident in a Dallas, Texas nightclub where the lead guitarist Vince Neil (formerly with the rock band MÖTLEY CRÜE was unhappy with the stage monitor mix operator.
After motioning for for more guitar volume during his headlining set at Gilley's Dallas, Neil ran across the stage, leaped onto the monitor mix sound board and swung a leg at sound man Michael Talbert, but missed; then Neil struck him with a "closed fist."

Talbert, who was looking down, saw only the monitor mixing console and Neil's foot next to him before losing consciousness for about 45 seconds after Neil's punch knocked him to the ground.  He said a CT scan revealed that he had suffered a mild concussion. "He tried to kick me and missed, took a swing and connected.  He clocked me pretty good on my eyeball," said Talbert, who works at Gilley's. "He just went cuckoo nutso."  An arrest warrant was later issued for Neil

More information can be found at:

www.rollingstone.com/music/news/lamb-of-god-singer-still-imprisoned-in-czech-republic-20120705

www.randyblythe.posterous.com

www.blabbermouth.net/news.aspx?mode=Article&newsitemID=176308

Related Blog Post:

theatresafetyblog.blogspot.com/2011/09/performers-need-some-limits-and.html

Industry Professionals Form Event Safety Alliance Organization

The creation of the Event Safety Alliance was announced to the public at the TourLink 2012 conference in Phoenix, Arizona during the open panel “Outdoor Show Safety Solutions” on January 28, 2012. This panel was moderated by Jim Digby and featured founding members of the Event Safety Alliance who represented all areas of our industry, from insurance coverage to structure fabrication.

The Event Safety Alliance is a group of entertainment industry leaders that have come together to address the immediate need for universal safety standards for the production of live events.  The newly formed group is based out of Austin, Texas and has posted a web site with more information.

Check them out and sign-up for their newsletter at: http://eventsafetyalliance.org/

They are also hooked-up with Twitter, Facebook, and LinkedIn.

The groups is so new they don't even have a logo yet [updated: see above!], the ink is still drying on the bits, but they are tackling event safety head-on and plan to publish a Best Practices Guide in the near future.

Indiana Legislature posts Bill requiring outdoor stage inspections

The Indiana State Legislature posted a bill to require all venues statewide to have outdoor stage structures inspected by an engineer or other qualified person.  More information at:
http://theatreface.ning.com/profiles/blogs/follow-up-to-indiana-state-fair-stage-canopy-collapse

This may provide a model of other states to go-by as they develop their new regulations.  Maybe we can prevent a repeat of the last few summers of show disasters.

Zombies are key to workplace safety.

Slippery floors, hot cooking equipment, heavy lifting, loud noises and working alone are some of the dangers teens face as they take that first job or seasonal employment. These are not too dissimilar from the hazards encountered in a performing arts environment.  These dangers can lead to fatalities and serious injury if workers are not aware of them and how to protect themselves against being injured on the job. To help teens stay safe at work, the American Society of Safety Engineers (ASSE) launched an interactive online computer game called “Don’t be a Zombie at Work” and to illustrate how occupational safety, health, and environmental professionals are key to staying safe.

Located at http://www.dontbeazombieatwork.org, the ASSE game is free and features the imaginary evil “BodgeDab” industries. Players find themselves helping their co‐workers avoid becoming a “zombie” by finding tools and information from professionals to stay safe on the job. The game involves a mysterious corporation that has just moved into a large city, led by reputed evil boss Damballa Bokor, and opening businesses all over town. At the same time, the people working at these establishments are becoming “unnatural” ‐‐ zombie-like. And the "virus” is quickly spreading among all workers. The player’s job is to move through these establishments ‐ a restaurant (Club BodgeDab), a warehouse, and an office to save the workers by undoing the workplace hazards. This will save the zombiefied employees and create a safe work environment. If done successfully, the player moves to the final challenge ‐ BodgeDab headquarters and a showdown with Damballa Bokor.

Throughout the game Elle, an ASSE professional, is working undercover to help stop BodgeDab industries and inform the player of the dangerous and underlying dangers of BodgeDab industries.

Just a call away, Elle and a team of safety professionals provide the player with clues on how to prevent workplace hazards, save the zombies and stop the dreaded BodgeDab industries.

In addition to Elle and the safety professionals, the player has several tools that can be moved to a tool box / inventory to fix the hazardous situations in each level. Instructions are provided throughout the game as are quizzes.

The “Don’t be a Zombie at Work” game, developed by ASSE members, is another tool ASSE has created and made available to its members and the public in an effort to prevent workplace injuries and fatalities. The other free young worker tools include the “Be Safe At Work: Tips for Teens” book mark and the brochures titled “Important Workplace Safety Guide for Young Workers” and “Preventing Roadway Crashes” available by contacting ASSE at customerservice@asse.org , by calling 847‐699‐2929 or downloading them from www.asse.org/newsroom in the press kit.

In 2007 a total of 117 teens under the age of 18 died from work‐related injuries and another 77,000 teen workers were hurt badly enough to end up in hospital emergency rooms. Nationally, about 230,000 teens suffer work‐related injuries, with most of those injuries occurring in the retail or service industries, according
to the National Institute of Occupational Safety and Health (NIOSH). Overall, close to 6,000 workers die from on‐the‐job injuries and 4.4 million more suffer from injuries and illnesses in the U.S. alone.

Founded in 1911, the Des Plaines, IL‐based ASSE is the oldest and largest safety society. Its 32,000 occupational safety, health and environmental professional members lead, manage, supervise, research and consult on safety, health, transportation and environmental issues in all industries, government, labor, health
care and education. For more information please go to www.asse.org/newsroom or to http://www.dontbeazombieatwork.org.

Performers need some limits and restraints, too.

This video of a 1982 U2 concert at Gateshead clearly shows a performer that has completely disregarded his own safety (and possibly the safety of others had he fallen).  The artist climbs the support structure starting around 2:30 in the video.

Were any laws broken here?  Maybe not, as it was the artists' own initiative to do this, however, promoters, venue owners, stage managers, and staging rental companies must be on the alert for this type of unexpected and unplanned behavior so that proper precautions are taken to thwart it or see that it is done with the proper safety protocols in-place.

Safety Standards Protect Workers — Improve Productivity

The American National Standards Institute, Inc. (ANSI) publishes safety standards for the workplace.  These standards are key to ensuring worker safety, protecting the environment, and improving productivity.

You can find standards for ladder safety, construction, clothing, equipment, workplace surfaces, signage, occupational health, fire safety, handling of chemicals and gases, labeling and safeguarding standards for equipment, noise, and vibration, and more at www.webstore.ansi.org/safety_standards.  Download individual copies or explore multi-user site licenses.  If you are part of a school or university system, they may already have a site license that you can benefit from.

Searches are available for a wide range of safety standards from these organizations:

• American Ladder Institute (ALI)
• American Society of Safety Engineers (ASSE)
• American Society of Testing and Materials (ASTM)
• National Eletrical Equuipment Manufacturer's Association (NEMA)
• National Fire Protection Association (NFPA)
• International Standards Organization (ISO)
• International Safety Equipment Association (ISEA)
• American Industrial Hygiene Association (AIHA); and many others.

Ottawa BluesFest Stage Canopy Collapses During Storm

Sunday, June 17, 2011, Ottawa, Canada - A storm blew over an outdoor concert and collapsed the stage canopy on Sunday afternoon.  Three people suffered minor injuries, and the remainder of the show was cancelled.  Here is a mobile phone video shot by Ben DiTommaso:



This really shows how fast a weather event like this can take down a structure.

The extensive article in the Ottawa Citizen (http://www.ottawacitizen.com/Bluesfest+stage+collapses+storm/5116446/story.html) describes the storm's arrival and the crowd management issues.  It is interesting that the local weather reports indicated a fast approaching (100 km/h) system with wind gusts up to 140 km/h. Yet the Festival director, Mark Monahan, referred to the storm as "an unexpected event."  The question needs to be asked as to why the organizers didn't consider evacuating the site earlier?  It was easy to see from the weather information available that the system was going to pass right over the city.  This would have been an excellent opportunity to use the big video screens to announce the impending weather and request that the crowd take-cover.  Event organizers should have pre-composed informational video frames and audio announcements to address this, and other emergency information.

Additional videos, interviews, and and print coverage can be found at the CTV news web site:
http://ottawa.ctv.ca/servlet/an/local/CTVNews/20110718/OTT_Bluesfest_Day2_110718/20110718/?hub=OttawaHome

As mentioned in previous posts, it takes time to clear an area and secure stage canopies and towers, so there MUST be a willingness and effort on the part of the show management to pre-emptively protect the public.  If one of the tall towers that were supporting the speakers were to have blown-over onto the crowd, the injuries could have been substantial.  NEVER UNDERESTIMATE THE POWER OF MOTHER NATURE.

Follow-up:  2012-11-21:  http://theatresafetyblog.blogspot.com/2012/11/new-reports-on-2011-ottawa-bluesfest.html

Hemp House Rigging - The 'old fashioned way'

Dawn Wilfong, 24, works the fly rail and hauls a piece of coiled rope during a performance of “A Christmas Carol.”  (c) 2010 Photo by Thomas Slusser (For The Virginian-Pilot)

Check out this great story about one of the few remaining active rope rigging houses.  http://hamptonroads.com/2010/12/behind-scenes-wells-theatre-rare-find

This wooden pin-rail is in a theatre built in Texas in the 1920's.

One of the most common scenarios this blogger sees is equipment like this that has never been serviced in 50-70+ years.  The Loft Blocks are sometimes made of dry-rotted wood or sand-cast pigiron, either of which could fail under load without notice.  The ropes need constant review and regular replacement, too, as they weaken with age and abrasion.  As you can see in the second picture, the facility operators in this building don't understand the concept of counterweighting the batten loads, so everything is stage-heavy.  The battens are dead-hauled (bull-dogged) up, and if the tie-off fails or the fly crew looses their grip, then the batten and load will will come crashing to the stage.

Other potential problems are retro-fitted belaying pins:   I've found rebar, conduit, gas pipe, broom handles, steel spikes, and other odd items used in place of the correct items.  Some hemp-house facilities are 'hand-me-down' theatres that started-out as the High School Auditorium, then was the Middle School, and is now part of the Elementary School facility.  Not only is the equipment MORE DANGEROUS, but it is located where young children not familiar with the hazard potential can pull-out the belaying pins and/or untie the rope lines.

It is extremely important that the operators and staff fully understand how the fly system works and what safety precautions must be taken when loading and operating the system.

Rigging Report Card - Pass? -or- Fail!

J.R. Clancy Company, one of the largest Stage Rigging component manufacturers in the world, has introduced a new posting section on their Facebook photos page.  It is a Bad Rigging Photo of the Week.  Log in and check it out.  Scary is an understatement.  www.facebook.com/JRClancy

These pictures, and similar ones I post here in the Theatre Safety Blog, and those that I show in my USITT workshops "What's Wrong With This Picture?" are all intended to make you take pause and think about what may be lurking in your theatre, or that theatre that you may be traveling to for your next show.

These types of poorly thought-out assemblies really go to show you how important it is to have your facility inspected by an objective party.  Things that you may casually dismiss because you've come to see them every day may actually be a really serious hazard.  A fresh set of eyes can be key to getting a wake-up call.  Independent Consultants (insert shameless plug for my company, Teqniqal Systems, here) can be a great resource for this as they work objectively and are not interested in selling you new equipment, just seeing that you are aware of the current state of affairs with your facility.

The NFPA 80 Standard for Fire Doors and Other Opening Protectives, 5.2, requires that you have your Fire Curtain inspected annually, so this is a good time to have the rest of the rigging system inspected as well.  If your facility is operating under OSHA (State plan, or Federal plan, or even if it's not - it's still a really good idea), then you are required to have your Rigging Systems inspected annually.

Not to be forgotten, your Smoke Vents (an important part of the Fire Curtain System along with the Fire Doors) must be tested annually.  Your Smoke Vents should have rigging that facilitates the operation from the stage floor level (don't tell me you are going to go to the grid iron deck to open them to clear-out extraneous atmospheric effects or summer heat).  This smoke hatch rigging (be it mechanical or motorized) must be inspected semi-annually as a part of the Smoke Vent inspections.  Ref: NFPA 204 Standard for Smoke and Heat Venting, 12.4.3.5.

Ask a lot of questions about the report that you are going to pay for.  What does the inspection include / exclude?  How long will it take?  Who should be present?

"Will you shut me down if I fail?" is a common question I get.  My answer is this:  I'm just the messenger.  I report what I see and put it in context so you and your administration can understand it and the potential consequences.  I quote relevant building or safety codes, if applicable to the situation.  I am not the AHJ (Authority Having Jurisdiction).  You are my customer, so I report to you.  Your building condition is your business, so you can act on the report as you deem appropriate.  Hopefully, you will get the broken stuff fixed.

One thing at a time:  Typically, a Rigging System Safety Assessment report will NOT include any design or specific engineered solutions.  It is only a report on the conditions.  Why is this excluded?  At the time I contract with you to perform the inspection, I will usually only know the general nature of the building layout and rigging systems, I will not yet have seen any of the actual conditions - how could I possibly estimate the cost of my services to (re)design a fix for what I have not seen?

"How much does this cost?" is the battle cry of the administrators.  Don't be smug and ask them why it matters - or retort "Would they rather pay for a funeral?"  That's not the question.  "How much does it cost?" means that they need to find the funds and understand the value.  When they understand what this inspection entails, why it is important and/or necessary, then they can address the funding issue. You can help the process by remaining calm and professional.  Drama Queens can alienate the administrators if they present more bluster than facts.  A good consultant can help you to educate them about this investment / recurring annual maintenance cost.

A little help on your part can be useful, too.  Do some research with your insurance provider, safety department, or even your regional / national arts groups.  Sometimes they have grant money available to help defray the cost of this work.  If it involves facility planning (that is what this is - planning for necessary improvements) and/or safety, the money is usually out there.

The answer, like so many things in life, is: "It depends."  You should be suspicious of anyone that offers you a "Free" or "Discounted" rigging assessment.  It will likely be worthless and largely incomplete.  This type of work takes time.  Time = Money.  No one makes a living on 'free'.  At a minimum, you are paying for the person's travel time and expenses to and from your facility, the time on-site actually testing, inspecting, observing, interviewing, photographing, and documenting what they find.  They then must organize all their findings into a coherent report that addresses your specific facility and put the information in context.  Each item should be clearly tagged with recommendations as to what needs removed, repaired, replaced, re-designed, etc.  The time expended writing the report can be many times the hours spent on-site.

The "It depends" factor is complex:  Do you have a walk-on gridiron?  Or do I need to rent a man-lift to go up a bazillion feet?  Do you have 1, 2, or 3 loading galleries?  How many line sets do you have?  How many are motorized?  Is this a Union House?  Am I inspecting just the Rigging System, or am I doing the Drapes,  Fire Curtain, Smoke Vents, and all the scabbed-on rigging at the Tormentors, Beam Electrics, Speaker Clusters, and Orchestra Shell components?  Is there an Orchestra Pit Lift?  Am I inspecting Fire Doors, Fire Alarms, and/or any other Life Safety Systems?

Be efficient with your investment.  Is your facility part of a School or College District that has multiple venues?  If so, then seriously consider having all the venues inspected under one contract.  No, this isn't a money grab.  It is about identifying the sources of problems.  If your inspector can assess 2, 4, or a dozen facilities as a whole, then the report you receive should be more manageable.  The areas of common concern can be discussed once, and the unique 'features' of each system or building can be addressed individually.  This allows you and your administration to see items that are systemic in nature and those that are local in nature.  A big picture that speaks to all of the district's Theatre Safety needs can be a powerful impetus for change and improvements.

Once the report is written and submitted, you will have a chance to read it and discuss it with your staff.  Don't shoot the messenger.  Understand that the inspector does not have an agenda, they are not 'out to get you', they are not seeking to close-down your theatre.

As Sergeant Joe Friday would say: "Just the facts, ma'am."  Don't interpret the safety report as an indictment of your operations or management.  It is not.  However, it may point to some areas of your operations that could use improvement.  The most dangerous part of a rigging system is the people that operate it.  Use your rigging safety report to improve your policies, methodologies, and show preparation.  Use it to plan repairs, upgrades, and service.  Learn from it.

Questions?  Call me or write me!

Dancing shouldn't be a bone-crushing experience

A 1988 study conducted in Canada by IRSST called Les blessures et leur prévention chez les danseurs professionnels (Injuries and their prevention in professional dancers) (in French) can be downloaded from: http://www.irsst.qc.ca/en/_publicationirsst_65.html.  This was based upon an interview survey with 80 dancers, representatives of dance troupe management, and health professionals who regularly treat dancers.  Excerpts from the study show:

• 94% of dancers get injured at least once in a period of 16 months.
• 4 injuries occur each 1,000 hours of work (comparable to other professional sports).
• The injury affects mainly the back and lower limbs and it is mainly sprains and muscle injuries.
• Injuries that occur due to the activity are are five times more likely than accidental injuries.
• The work done late at night and learning new movements are situations of higher risk.
• The texture of the floors, fatigue, and workload are all factors in dance injuries.

For a more extensive study (in English) you can download "Occupational Risks in the Performing Arts" (http://www.irsst.qc.ca/files/documents/PubIRSST/R-607.pdf)

There is also a great document titled "Performing arts - Occupational Risks: Keeping workers front and centre" that can be found at:  http://www.irsst.qc.ca/files/documents/en/prev/v21_04/17-21.pdf

One dance floor manufacturer, Spectat (http://www.plancher-spectat.fr/ & http://www.spectat.com/spectatuk.htm click on: "Dance Floors", then Salt o, Salt i, and Salti s), has taken to approach to design floors that have specially engineered shock absorption and energy damping so that joint and other body injuries are minimized.  Although not the first to do this, they have applied good kinesiology (http://en.wikipedia.org/wiki/Kinesiology) and biomechanics understanding to the problem and tempered it with solid engineering.

At their web site there is a document (http://www.plancher-spectat.fr/dl/traumatologie.pdf) (in French - hey, that's why they put translation engines on the web) that describes the various forms of trauma that a dancer's body encounters, and also has a brief description of how their unique floor structure is designed to minimize these stresses.

So, don't

Talk of the Nation: Risk Management

'Risk Management' is a popular term these days.  Lots of things to be discussed that affect us all from BP's Oil Spill to accusations about cars that accelerate unexpectedly, to airplane and train crashes.  It may be the big disasters that make the news and turn the spotlight on both the culprits and victims, but it can be small disasters, or near-misses, that you see every day in your theatre that can make you take pause and realize, "maybe it's time we re-think how we do this before someone gets hurt."

Safety and Risk Assessment are like any good 12-step program:  The first thing you have to do is recognize you have a problem.  Risk Assessment is just as it sounds:  you take apart a policy, procedure, or piece of equipment and look at both the whole and the pieces to determine what can be improved.  There are no sacred cows.  Pick it apart, think about "what could possibly go wrong?" (famous last words), and look to see what can be done to make the procedure safer, maybe more efficient, and possibly easier to perform.  This can be applied to any aspect of show production from crowd control, to rigging, to load-in / strike, to cable management, and a myriad of other tasks.  Everything we do has some sort of procedure we perform, and there is almost always room for improvement.

Things to consider are:

• Are the correct Tools (this means any physical object or software used to perform the task) available to the workers? ("Never try to do a Jeweler's job with Blacksmith's tools.")
• What PPE is needed? (OSHA regulations and NIOSH are great resources for this.)
• Are there enough (or too many) people involved?
• What is the best order to complete the work?
• Is there enough time to do the job safely?
• Who's really in-charge?

Each step of the way you have to question the ultimate goal of the task, and the financial reality of the project.  "Biting off more than you can chew" is a recipe for disaster, so break-down tasks into manageable portions.

There is an excellent discussion about this subject on NPR's Talk of the Nation news show:
http://www.npr.org/templates/story/story.php?storyId=129086937
Host Tony Cox interviews former astronaut James Bagian (Chief Patient Safety Officer, Veterans Health Administration), William Reilly (Co-chairman, BP Deepwater Horizon Oil Spill and Offshore Drilling Commission), and Beverly Saur (Consultant in Strategic Risk Communication; Author, "The Rhetoric of Risk: Technical Documentation in Hazardous Environments") in this show and they all bring a high level of understanding of the issues.  There are both an MP3 podcast and a written transcript of the show available.