Averting Disaster A expert on theater safety offers terrific tips on how to deal with possible emergency scenarios at your theater. By Jerry Gorrell Issue: June/July 2001 Most of us in the theater would rather not think about emergencies since we like to believe, or at least hope, that emergencies are something that happens to someone else. Unfortunately, sooner or later disaster in some form or another will strike us all. When the unexpected happens, emergency planning invariably takes some of the edge off. Most fire codes require that there be an evacuation plan in place in the event of fire or similar event. OSHA regulations require employers to have an employee emergency plan and a fire prevention plan. If there are more than 10 employees, these plans must be in writing. In my opinion, the evacuation plan for the audience should always be in writing so it can be effectively communicated to the front-of-house staff. A properly created and executed emergency plan will limit the effect the emergency has on performances, help limit property loss, as well as protect the public and staff. Before and during a recent performance at one of our facilities, there were two fire alarms before the performance and one during the performance. One was caused by the failure of a motor on a piece of building equipment; another happened when a patron hit a sprinkler pipe with a vehicle in the connected parking garage; and the last alarm was triggered at the top of the second act when the repaired sprinkler line was refilled. The first two alarms were unpreventable. However, the last should not have occurred because established procedure stated that sprinkler lines are not to be filled during an event. Had the staff person responsible followed the proper procedure, the disruptive alarm would never have happened. First Steps: What To Do The first step in creating any emergency plan is to determine what to plan for. The usual concern in the entertainment industry is fire. However, there are many other equally or more likely emergencies. These include tornadoes, explosion, flooding, toxic fumes, hurricanes, a significant accident onstage that injures cast and/or crew members, or otherwise stops the performance, crowd control problems, a bomb and a host of other threats. In a performing facility, the plan should differentiate between when an audience is present and when there is no audience. Some facilities have art galleries, a gift shop or similar facilities attached and these pose additional problems that need to be addressed in the plan. Planning The Details While the complexity of the program depends on the size of the facility, at a minimum the plan should: 1. Specify who determines that an emer- gency exists that requires activating the emergency procedure(s). Is it the house manager, stage manager, either one or someone else? 2. Determine emergency escape procedures, routes and assignments. This should include the minimum number of ushers needed for a given audience size and the assignments and directions they are to give to patrons. The National Fire Protection Association 101 Life Safety code requires; *(Section 13.7.6) “The employees or attendants of assembly occu- pancies shall be trained and drilled in the duties they are to perform in the case of fire, panic, or other emergency to effect orderly exiting.” *(Section A.13.7.6) “It is important that an adequate number of competent attendants be on duty when the assembly occupancy is occupied [by the public].” 3. Decide procedures to be followed by any employees who remain behind to perform (or shut down) any critical operations, if any, before the area is evacuated. *In smaller facilities this procedure probably does not generally apply. *However, it includes ushers and others whose responsibility it is to get the public out safely. *In large facilities this might include boilers, chillers, incoming natural gas, electrical systems, etc. *Also included are stage equipment and systems that might cause the situation to become worse, such as pyrotechnics. 4. Decide how to account for all employees and audience members after the emergency evacuation has been completed. A designated assembly point for personnel should be determined and a separate assembly point for the audience members should be established. It is important for emergency personnel arriving on the scene to know if search and rescue is required and who and how many to search for, as well as where they might be located. 5. Assign rescue and medical duties for any employees who are to perform them. 6. Specify the preferred method of reporting fires and other emergencies. 7. Lay out maps and/or floor plans that show escape routes and areas of refuge. OSHA requires the emergency plan to include names or regular job titles of persons or departments to be contacted for further information or explanation of duties under the plan. Training Personnel After the plan is created, all employees, staff and volunteers need to be trained. They all should be told what actions they are to take in emergency situations that might occur and where the designated assembly point is. In general staff training, including volunteers, should include: 1. An evacuation plan; 2. The alarm system, if there is one, and how it works; 3. Reporting procedures; 4. Shut-down procedures, if any; and 5. Type of potential emergencies. Training must take place: 1. Initially when the plan is developed; 2. For all new employees, volunteers or other workers; 3. When something about the facility changes. This might include a new seating arrangement in a flexible theater; 4. When procedures have been updated or revised; 5. When exercises show that performance must be improved. 6. At least annually. Getting The Drills Down Periodically, but at least annually (more often, if at all possible—quarterly is preferred) drills should be conducted so everyone understands what their role in an emergency is. You wouldn’t do a show without a rehearsal, would you? The drill is also an opportunity to be sure the plan goes as expected. Dealing With Bomb Scares One special area is a bomb or similar threat. Everyone who might be in a position to receive such a call should be trained in what to do should they receive one. If possible, a form should be created and be readily available at phone locations. At a very minimum, box office and general office personnel should be trained and have the forms available. The most important thing is for the person receiving the call to remain calm and: *Listen closely for voice charac- teristics (i.e., loud, soft, deep, etc.); *Note how the caller talked (i.e., fast, slowly, slurred, distinct, stuttered, etc.); *Note the presence of an accent. Is it identifiable? *Note the caller's disposition (i.e., calm, angry, coherent, emotional, deliberate, etc.); *Note any background sounds (i.e., trains, planes, people talking, etc.); *Is the voice familiar? *When is bomb to explode? *Where is the bomb? *What kind of bomb is it? *What does it look like? *What will cause it to explode? *Why did you place the bomb? *Do you know anyone at the facility? *What is your name or the name of the organization that is respon- sible for the bomb? This type of threat should never be taken lightly and I would highly recommend that you do some advance planning with your local law enforcement officials in case something like this happens. In no event have your staff search for a bomb—unless they are specifically trained to do so! This is an area only for experts. Always encourage staff to report suspicious packages and treat them with care. Follow these guidelines and you will be prepared for an emergency and hopefully minimize the affects on you staff and facility. sd Jerry Gorrell is the technical director and safety coordinator for the Theatre Division of the City of Phoenix, Standards Chair for the United States Institute for Theatre Technology and principal of Theatre Safety Programs, an entertainment industry safety consulting firm.