We’ve talked about safety on catwalks before, and we looked at building safe scenery, too. However, I recently visited some theatres with shows up that lead me to believe this warrants further discussion. Fall prevention isn’t just about technicians on catwalks, scaffolding, or ladders – it applies to performers, as well.

There are building standards that apply (ADA, OSHA, International Building Code, and whatever local building codes that are in effect), and the belief that “it’s only used on the stage”, or “it’s just temporary” somehow exempt the builder (and those that sanction them) are misguided. There are no exemptions. Build them safely, or don’t build them at all. The following information is a compilation of common building code requirements, you should always refer to the most stringent requirement of OSHA, ADA, and your locally adopted building codes, and remember the codes only define the MINIMUM level of protection required, you can always do more.

A special note about the ADA: it’s not just about wheelchair access - – it’s about everybody being able to move about without fear of slipping, tripping, falling, or running into protruding obstacles, so it applies to the all areas of the workplace.

Steps:

Many sets are constructed with multiple elevations, and to get from one level to the next there are usually stairways. Stairs are generally defined by the rise from tread-to-tread, and the run, or length, of the tread.

A special note about the ADA: it’s not just about wheelchair access - – it’s about everybody being able to move about without fear of slipping, tripping, falling, or running into protruding obstacles, so it applies to the all areas of the workplace.

• Step Rise – This is how tall each step is. Step rises must be uniform, and must be between 4” and 7” tall. The backs of the step risers must not be open to allow a foot / shoe to slide through (this is so the tops of people’s feet don’t get torn-up by the bottom to the next higher step).
• Step Treads – This is how long each step is. Treads shall be 11” deep, minimum, and they can overlap the prior / next tread my no more than 1½” (this is to reduce the likelihood of trips going up the stairs). The treads must be flat and slope no more than 1:48 (which for an 11” tread is no more 3/16”). Treads must be non-slip surfaces. Treads must be strong-enough to not sag under the weight of the people traversing them (see platform deck strength comments below). This includes the blocking underneath them, as well. A step that feels spongy, sags, or rolls as weight is transferred across it is dangerous and must be replaced or repaired.
  Common causes for sagging is material that is too thin or too soft.
  
  Common causes for rolling or tilting of step treads is when the under-blocking or end attachments are not properly secured to the side supports. Weak fasteners and/or split wood where the fastener penetrates the wood can also allow the step treads to move about.
• 
  
• Step Nosings – This is the tip of the step. These must be a small radius, no more than ½”, and be marked with a contrasting color stripe. The contrasting color stripe must be at least 1” wide, and no more than 2” wide, and not set back from the edge of the step nose by more than 1”. Photoluminescent paint is recommended, as it will continue to glow under low light conditions. Note that gaffer’s tape and similar products are not recommend for use on stairs as the adhesive is soft and can allow the tape to slide laterally and can cause someone to slip and fall on stairs should it work-loose. Use products that are specifically designed to be used as traction enhancers and visual floor markers.

Platforms:

The structural integrity of platforms is very important. Just because they may be held-up by 4x4 wood posts, or even steel posts, means little if the connections are weak or the wood framing is split. The lateral stability of the platforms is important, too, as surfaces that wiggle or shake can both disorient the person upon them, but this is potentially a sign that the structure is not structurally sound and could collapse. Use cross bracing between legs to assure that structures have lateral stability.

A 2x4 wood platform frame that is secured to its support post with drywall screws, or even deck screws, is not a reliable connection when you consider the torque loads that lateral movements of the platform can present to the joints. Joints made with metal plates on each side and load-rated (graded) bolts that go completely through to the opposite side, and are then secured with load-rated (graded) nuts, are typically much stronger and less likely to result in split wood and broken fasteners.

Decks must be properly supported from underneath so that they do not sag under the weight of the performers. It is common to support 4’x8’ platforms at each end, so it is vital that the structural framing below the top deck surface be sufficient. ¾” (19 mm) thick plywood decking is not very strong by itself, and can sag substantially when loaded at the center point while being supported at the ends. Framing members (beams) should be secured so that they cannot roll-over and become loaded on their weak axis (i.e. a 2x4 that is upright crumples-under due to a failed joint, and then becomes a 4x2 sleeper). To prevent this from occurring, all corners should be bolted to a metal bracket – nails, screws, and glue are insufficient means to make these connections.

A good rule-of-thumb is that the platform deck should not deflect more than 1:240 when loaded with personnel and equipment. This means the sag in the mid-span of the platform deck should be no more than about 0.20” (10 mm) across a four foot span. It is important that the load of ‘large sized’ personnel be considered, as well as multiple persons standing closely to each other. Think about four 6’-6’, 250 pound actors with costumes and hand props all packed upon a 4’x4’ platform – this creates a local loading of 300+ pounds per square foot (1500 kg/ sq m). Will your deck, beams, support columns, and fasteners all withstand this live load?

Deck joints should be flush with no inconsistencies that could cause someone to trip and fall. Edges and joints should be covered or sealed to eliminate exposed splinters. These can injure performers with thin or no shoes, and they can snag costumes (particularly long dresses or robes) and cause performers to fall.

Edges of elevated platforms should be marked with a contrasting color stripe so that the edges are readily apparent under low lighting conditions.

Railings:

Consideration for the installation of railings should be made of any surface is elevated from another. Even a single step rise can be dangerous if it is not a primary travel path. Changes in floor elevation or slope should always be clearly marked. This can aid personnel so that they don’t inadvertently step off from one level to another and twist an ankle, or worse.

The threshold for requiring railings varies by building and safety code jurisdiction, so the following guidelines are offered:

• Elevation changes from 0”-24” (0-60 cm): Install railings everywhere except designated personnel travel points.
• Elevation changes more than 24” (60 cm): Install railings (except at front of stage apron facing audience), or have crew & actors wear fall protection / fall prevention PPE.

Guard Railings should be 42” (1.1 m) tall, minimum, and have a lateral strength of not less than 200 pounds (90 kg). Unless they are in public access areas, the 10” (25 cm) sphere rule usually applies, so intermediate railings should be spaced to provide not more than 10” (25 cm) gaps.

Hand Railings along stairs are required on at least one side and are highly recommended along both sides. Hand Railings must be between 34” (865 mm) and 38” (965 mm) above the walk surface, and be nominally 1¼” to 2” (32-51 mm) diameter (if round), and if not round have a perimeter dimension of 4”-6½” (100-160 mm). This is so you can grasp your hand around the railing. This also means that 2x4’s can’t be use for hand railings they are too big to get your hand around. If you are working with children, then the preference is to use the 1¼” (32 mm) railing to afford them a better grip.

Hand Railings must be secured to the wall so that they will not rotate or slide. Hand Railings must be spaced away from any adjacent wall or other railing by at least 1½” (38 mm) so that the user can easily reach and grasp the railing without any interference.

Hand Railings must be as strong as other railings, i.e. they must be able to withstand a 200 pound lateral (90 kg) load.

Toe Boards / Kick Plates

These are solid plates that run along the base of the railings. These are intended to prevent workers from slipping off of the walk surface and falling under the hand-railing. These must be at least 4” (100 cm) tall. They are typically constructed from ¼” thick steel plate, however, wood and aluminum are also common, particularly on portable scaffolding and platforms. The kick plates should not have any gap where they meet the walking surface, as this can allow small bits of debris, nuts, screws, nails, etc, to be kicked off and land on workers below. The plates should be secured so they don’t bow out between the supports.

Walls:

Walls along the sides of elevated platforms can, if built from scenery flats or foam board, create a false sense of safety. Most form-board and scenery flats have little structural strength when pressure is applied to them perpendicular to the surface plane. If you have an elevated platform and a performer or crew member falls against a false wall along one side of it, they may be in for a unwelcome surprise (and possibly a significant injury) when that wall gives-away and they end-up on the floor below. Be sure to back-up elevated walls with railings and reinforcements that will protect your crew and performers.

Bottom Line:

Don’t THINK that something is safe – KNOW that something is safe.

Quick Assessment Example:

A view looking down the set stairs toward backstage. At the left you see a hand railing that is too large to grasp safely. Down the middle, there are steps that are difficult to see in low light conditions (no contrasting step edges). At the end of the upper flight of stairs there is a left turn landing platform that has no hand railings on two sides (this is six steps above the ground level). The lower flight of stirs has no hand railings, and no step edge markings. On the right side of the steps there is a flat used for a wall that is poorly secured to the staircase, not tall enough to provide fall protection, and has a gap between it and the steps that one could slide a foot off into. Also no hand railing. Further to the right, there is a wide gap with no guard railing at all (this is about 6'-6" above a concrete deck). Not visible in this picture are a guard railing at the upper platform that is at 32" above the platform (low enough that you could fall against it and tip over it), no lower railing or kick plate, so you could slip and fall under the guard railing.

To the left is a close-up view of the base of the hand railing. You can see that the railing vertical posts are attached with deck screws that have split the wood. Should someone fall against the railing, it would probably give-away at this point.

Also visible is the step tread made from 3/4" plywood. The treads are less than 11" deep, and they noticeably sag when walking upon them. This is partially due to the under-support spanning between the stair stringers that are attached with the three deck screws you see entering the near the rear of the step tread - the wood is split apart internally and provides no effective support, not to mention the brittle nature of deck screws when used for shear loading structural support (they can snap-off very easily).

Other steps were installed nearby that spanned inside the stair stringers and had blocking underneath each end. These blocks were also poorly attached and allowed the step tread to roll front-to-back as one's foot transferred the load from heal-to-toe.

The vertical posts supporting all of the stairs and platforms were each 2x4's with no cross-bracing, so the entire structure wiggled front-to-back and side-to-side as one moved about on it.

This really put the "Shake" in Shakespeare in the Park.