Dead singers don’t get jobs. Sick and injured singers don’t get much work either. Companies tend not to hire singers who have canceled performances due to a chronic illness, who are asthmatic, or who have any physical condition that requires accommodation. In other professions, this would be considered discrimination, but in opera, that’s just how it is. What’s worse, some companies engage in practices which make a singer’s health even more an issue.
For example, in a production of Elektra, Klytemnestra was directed to die face down over a fog-emitting pool filled with dry ice and remain in this position for the last 10 minutes of the opera. In rehearsal Klytemnestra felt a little discomfort by the pool. The night of the performance, she had a seizure on stage. Two of the handmaidens saw what happened and rushed off stage to tell management. The stage managers rotated the turntable as Electra sang on. Klytemnestra was taken off-stage and to the emergency room.
In low-lying areas, carbon dioxide from dry ice fogs can reach levels at which people are at risk of dying. When someone’s life is in danger, perhaps the show should not go on.To keep jobs, singers don’t complain about hazardous conditions. They work without “making waves” in unsanitary, unventilated venues that reek of odors from scene paints, hair spray, and costume-cleaning chemicals. They perform night after night breathing theatrical fog and smoke, in moldy costumes recently worn by who-knows-who, and blocked into maneuvers that seem more fitting for stunt people.
The catch is that by accepting hazardous work, singers put themselves at risk of acquiring the very illness or injury that could end their careers.
Manufacturers of fog, smoke and pyrotechnics insist their products are safe. Many unions and performers are sure they are not. Three studies of performers exposed to these special effects reported that 40-60 percent of those interviewed believe they have symptoms due to fog and smoke exposure. (Footnotes 1,2,3)
But the studies are flawed. There are too many variables: different types of fogs and pyrotechnics; varying amounts and duration of exposure; many types of performers (actors, singers, dancers, etc.); and much more. These variables make it likely that a definitive study will never be conducted. It would be like trying to prove that cigarette smoke is hazardous by studying only a few hundred very diverse people for only a few years whose smoking habits vary greatly.
Despite their shortcomings, the studies provide two particularly compelling pieces of evidence:
1. Tabulation of the medical records of over 1,200 Actors’ Equity performers showed that those working in fog are treated for respiratory problems three to four times more often than performers in non-fog shows. 22. Lung tests on pit musicians before and after two different performances showed a statistically significant decrease in lung capacity in 16 of 25 musicians. In the report, Dr. Jacqueline M. Moline of Mt. Sinai’s Occupational Medical Clinic concludes:“The conditions for the musicians in the music pit at Beauty and the Beast are unhealthy. A large percentage of the musicians are suffering from symptoms related to the irritative effects of the work environment. Several musicians now require medical care and medication to treat their symptoms which have developed or worsened since taking part in this production.” 3
WHAT CAUSES THE PROBLEM?
Experts on both sides of the debate agree that many of the smoke and fog chemicals can cause irritation and drying (hygroscopic) effects. Manufacturers point out the amounts that performers breathe are well below those allowed for industrial workers. But industrial workers are not singing! Singers can be affected by subtle changes in the vocal cords and respiratory tract. They use the breathing apparatus in a different way than non-singers.
Most industry experts also say that the drying and irritating effects reverse when exposure ceases so there is no permanent injury. But only an “expert” utterly unfamiliar with the rigors of performance could conclude that one can sing night after night with a dry, irritated throat without harming performance and health.
Some people also have developed allergies to these chemicals. Others have developed asthma or worsened a pre-existing asthma. Most fog fluid products have asthma warnings on the label.
The bottom line in the fog controversy is that “people were designed to breathe air!” Whenever there are particles in the air, some people will have respiratory problems. In fact, the amounts of particulates in the outside air correlates directly with respiratory illnesses and deaths. This is the reason the Environmental Protection Agency (EPA) regulates airborne particulates.
HOW CAN WE PROTECT OURSELVES?
1. Find out what you are breathing. Occupational safety laws require employers to provide technical information in the form of material safety data sheets (MSDS) on products to which we are exposed on the job. (See Sources of Help.)
2. If the MSDS is difficult to interpret, get expert advice from your doctor or other experts.
3. Reduce exposure when possible. Never remain directly in front of a fog or smoke generator. Leave fog areas as soon as possible. Ventilation systems should be used to keep fog out of dressing rooms and to clear residual effects from the stage between acts.
4. Watch for any symptomas such a respiratory problems or irritation of the eyes and throat which may be related to fog. Provide this information to your doctor.
5. Report any confirmed diagnoses to your union in order to help other affected performers.6. Support your union’s efforts to share information with other unions. For many years, opera singers were told that Broadway singers were not complaining about fog chemicals and vice versa. Only inter-union communication made it obvious that both opera and musical performers were having problems.
Footnotes:
1. NIOSH Final Report released in August 1994 (HETA 90-355-2449).
2. “Health effects of glycol-based fog used in theatrical productions,” Harry H. Herman, Jr., Report to Actor’s Equity Association, July 1995.
3. Report on a study of 25 Local 802 pit musicians at Beauty and the Beast Dr. Jacqueline M. Moline, Mount Sinai- Irving J. Selikoff Center for Environmental and Occupational Medicine, January 17, 1997.
MAKE-UP, HAIR, AND NAILS
Women in the court of Queen Elizabeth I persisted in wearing white lead paint even though one well-known actress in the 18th century died from lead poisoning from this make-up. Today, highly toxic cosmetics are still available. Many recent cases of lead and mercury poisoning have been traced to cosmetics containing kohl from the Middle East and calomel from Mexico.
Buddy Ebson was cast as the original Tin Man in the Wizard of Oz. But he had to quit after he was hospitalized with a severe reaction to the aluminum powder and paint used as make-up. He still suffers from lung problems he attributes to this incident.Reactions to make-up can threaten your health and cost jobs. Insist on FDA-approved products and, even then, watch for reactions.
Most people wear cosmetics, use hair color, and have manicures without problems. Yet there are instances in which people have been blinded by infections from mascara, had asthma attacks from spray products, or lost their hair after using products to curl or straighten hair.
It is also likely that serious health problems can occur after years of exposure to cosmetic chemicals. Beauticians and cosmetologists suffer a higher incidence of asthma, chronic bronchitis, skin rashes, and various types of cancer. Now similar statistics are being seen in studies of nail salon workers. A few studies indicate that ordinary consumer use of hair dyes may increase the risk of developing certain types of cancer.Such effects are not surprising because skin, hair and nail products contain the same chemicals that have caused occupational illnesses in industrial workers for decades. These chemicals include dyes, pigments, organic solvents, acids, caustics, preservatives, and plastics. While industrial workers use these chemicals in larger amounts than we do, we have greater intimacy and bodily contact with make-up, hair and nail products.In addition, we often apply these products in poorly-ventilated dressing rooms or at home. Under these conditions, products such as aerosol sprays can easily produce solvent exposures that would daunt factory workers. Some of the chemicals used in make-up, hair and nail products can cause skin allergies.
Once developed, these allergies last a lifetime. Well-known allergy-causing chemicals include metal compounds such as chrome and nickel pigments, formaldehyde, methylmethacrylate in artificial nail products, and preservatives such as Quaternium 15 and various parabens.
Respiratory allergies are caused primarily by products which can be inhaled such as powders and sprays. One substance, rubber latex, needs only skin contact to cause skin allergies, asthma, or life-threatening systemic allergies (anaphylactic shock). The FDA has investigated over 1,000 systemic reactions including 11 deaths from latex products such as enema tips or rubber gloves. Singers must be aware that some eyelash adhesives and special effects make-up contain rubber latex.
Solvents like acetone and alcohol can dry and defat the skin leaving it permeable to penetration by other chemicals. Some chemicals are absorbed even through normal skin. For example, residues (metabolites) from hair dyes can be found in the urine of women who have had their hair dyed. Many hair dyes also are either known or suspected to cause cancer.
Certain ingredients in make-up cause acne in some people. Included are many types of oils and cocoa butter. Other chemicals can cause physical damage and irritation of the skin such as hydroxides used in cuticle softeners and hair relaxers, and peroxides to lighten hair.
Skin and eye infections can be caused by use of products which are contaminated by microorganisms. Contamination occurs in unopened containers of make-up even after many months. Usually though, make-up becomes contaminated as we use it. The most serious infections result from using other people’s make-up. Hepatitis, herpes, impetigo, and a host of diseases can easily be transmitted by sharing make-up.
LABEL MISINFORMATION
The FDA tried to establish official definitions for terms such as “natural” and “hypoallergenic.” The regulations were overturned in court so that companies can use these terms without restriction. Terms which have no defined meaning include: natural, hypoallergenic, dermatologist-tested, sensitivity-tested, allergy-tested, nonirritating, fragrance -free, noncomodogenic.
HOW TO USE COSMETICS SAFELY:
1. Purchase only ingredient-labeled cosmetics that meet FDA standards. Never let make-up artists apply products which are not specifically meant for use on the skin, such as felt tip marking pens, paint, household or food dyes.
2. Never lend or borrow make-up from anyone.
3. Wash hands before and after applying make-up. Make-up artists should wash their hands or change gloves before starting on each client. Sponges and brushes should be discarded or disinfected after use on each individual. If this is not happening in the places you work, see if there is any way you can purchase your own make-up for your use.
4. Avoid sprays unless make-up and wig rooms have special ventilation systems. Replace aerosols with liquid products or pump sprays when possible.
5. Replace old cosmetics regularly even if they are unused.
6. Avoid creating clouds of powder or other substances which can be inhaled.
7. Moisten brushes or pencils with clean tap water, not with saliva.
8. Do not eat, drink, or smoke when applying make-up or when doing your nails or hair.
9. When removing spirit-gum, latex, and other special effects make-up, avoid skin contact with solvents such as acetone as much as possible. Replace lost skin oils immediately with emollients and moisturizers. Watch carefully for reactions to rubber latex such as rashes or itching. Discontinue any use immediately if reactions include hives or difficulty in swallowing.
PESTS AND PESTILENCE
Each end of the pit at a certain Broadway theater is covered by an old black fabric that is full of holes. The musicians are very careful not to bump their heads on it. If they do, mouse droppings rain down on them.
Mouse droppings and urine can harbor many disease organisms including potentially fatal hantavirus. Rodents, insects, and other sanitary hazards put everyone working in the theater at risk of disease and allergies.
A few years ago, a costume storage area was built into an unused portion of a theater with no ventilation. Only a single door allowed egress from three levels of hanging storage. Moisture built up in the room and the costumes began to bloom with mold. The costumer avoided working in the room as much as possible, but her health steadily deteriorated. When she could no longer work she applied for Workman’s Compensation. The costumer received full benefits and was reimbursed for all medical bills.Molds can cause serious and permanent health problems when people are severely overexposed.
Disease organisms can grow almost anywhere—in stagnant water, malfunctioning air-conditioning and ventilation systems, water damaged building materials, rodent and bird nests, and backed-up sewage.
Hundreds of hazardous microorganisms are known and new ones are still being identified. In addition, old diseases like TB and measles are now making a comeback and even developing drug-resistant strains.
TUBERCULOSIS: To most singers, TB is encountered only in the characters of Mimi or Violetta. Yet, you may be exposed to these and other diseases in unexpected ways. Transmitted through the air, TB may be present in many locations frequented by singers. There are confirmed cases of transmission on airplanes and in hospital waiting rooms. But the best illustration of TB transmission occurred in California from 1993 to 1996: A high school in California suffered an outbreak of tuberculosis traced to a student who infected 376 others. One of them lost part of a lung.
Of particular relevance to singers is the statement by Dr. Jackson of the Centers for Disease Control regarding the reason for the high rate of TB transmission in this school. “High school kids are face-to-face much more often than other groups…They sing in choir and shout in class.”
LEGIONNAIRES’ DISEASE: In 1997, a cluster of 23 cases of Legionnaires’ Disease was traced to a display of whirlpool spas. This is not the first time a whirlpool was the culprit, but this was the first time none of the patients entered the water. All were exposed simply by walking by or being in the area near the spa.
Approximately 10,000 to 15,000 cases of Legionnaires’ Disease occur each year in the U.S. Aerosol transmission of the disease has been documented to have come from contaminated air-conditioning systems, showers, decorative fountains, humidifiers, respiratory therapy equipment, and whirlpool spas. Theaters often have old air conditioning systems and humidifiers. And water is sometimes used in stage fountains, pools, and fog effects.
HANTAVIRUS: A highly fatal disease that was first identified in the Southwest, is now a problem in New York as well. In May 1994, a young college student died of hantavirus after exposure to mouse excretia at his family’s vacation home. A second death occurred in 1995 when a 25-year old landscaper came in contact with the mice droppings. Contact with rodent droppings and nesting material can transmit the disease.MOLDS: Molds come in 6,000 different varieties, with varying properties but major effects include:
• Irritation of the respiratory tract and eyes.
• Allergy which only affects people who have developed a sensitivity to the particular mold.
• Toxicity (poisoning) which can only be caused by certain molds.
• Fungal infections which usually only occur in people with compromised immune systems, such as AIDS-infected persons.
One of the most toxic molds is called Stachybotrys chartarum or “Stachy” for short. Stachy is a black, slimy-looking mold that flourishes in very damp conditions. It is known to produce a toxin which causes serious and permanent nervous system damage. Stachy was used briefly as a germ warfare agent.Stachy recently caused the closing of three public libraries. The mold problem was discovered after an employees suspected his patient’s unusual bronchial condition might be due to mold.
WHAT SHOULD WE DO?
1. Insist on cleanliness. Refuse, insects, rodent droppings, mold, and other unsanitary conditions have no place in the theater.
2. Insist on good ventilation, air conditioning, and humidity control. Good ventilation systems can control most airborne contaminants. Molds do not flourish when humidity is set at reasonable levels.
3. Avoid personally cleaning up infectious materials. If you must, wear gloves and saturate dusty or dry materials with a bleach and water solution and mop up rather than vacuum or sweep.
4. Never work in areas where mold is in evidence. Do whatever it takes to avoid exposure to mold and to warn others about the seriousness of the hazard.
5. Insist on sanitary restrooms and hand washing facilities.
6. If you develop symptoms consult your doctor.
A SAFE WORKPLACE: IT’S THE LAW…EVEN IN THEATERS
Complaints about odors from a toxic, costume-cleaning solvent at La Cage aux Folles sparked an investigation by the New York State Occupational Safety and Health Administration (OSHA). Inspectors found many violations: no proper ventilation for the solvent, uninformed personnel and a lack of material safety data sheets (MSDSs) for toxic products used. These and other violations were corrected under direct supervision of the New York State Attorney General’s Office.
Complaints to the right agency can result in changes that make the theater safer for everyone. Some singers may be reluctant to make a fuss. It’s easier if you know your rights and which agency can help you. [See “Sources of Help” page 23]At a non-AGMA opera theater recently fog was used and sets were painted during rehearsals, onstage, with no ventilation. One singer got laryngitis; others were wheezing; using asthma inhalers and one got bronchitis. Only one of the singers complained to management. Nothing was done.
Theaters are granted no special privileges under the law, but are regulated, like all other workplaces, by OSHA. The following is a summary of a few of these laws:
l HAZARDOUS PRODUCTS. OSHA regulates paints, solvents, dyes, fog, smoke, cleaners, sawdust, and all toxic substances. The regulations mandate complete labeling on all product containers. In addition MSDSs on each product must be readily available during all working hours to all exposed personnel.
OSHA requires that all personnel who use or who are exposed to potentially toxic substances be trained to understand MSDSs and labels. This would include singers as well if paints and similarly toxic products are used while they are present.
l FIRE SAFETY AND EMERGENCIES. OSHA requires all employers to inform all new employees about fire protection systems, emergency measures—such as exits, locations, when to use them, summoning help, etc.
l CHANGES IN ELEVATION. Except for the apron of the stage, all elevated platforms, unguarded elevators, pits, or traps where people could fall more than four feet must be guarded. Standard railings and covers over holes should be installed before you are asked to work in an area. If pits or traps must be open because they are used in the show, the area must be restricted, glow tape should be on the lip, and a ghost light should be installed when the trap is not in use.
l LADDERS AND STAIRS. Must meet OSHA regulations. For example, stairs having four or more risers or which rise more than 30 inches must be equipped with at least one handrail and one stair rail system along each unprotected side or edge. If an unguarded stair is used in a set, only performers using the item in the show should be allowed access.
l ELECTRICAL HAZARDS. Damaged wiring, temporary zip cords, power cables that run through doorways or wall openings, or other electrical defects are OSHA violations. OSHA also requires all outlets within 10 feet of a water source to have ground fault circuit interrupters. And if singers bring applicances to the theater, such as blow dryers, they need to make sure they carry a diamond-shaped double-insulated symbol or a label that says it is double-insulated.
l LEAD PAINT. Theaters and rehearsal halls built before 1978 should be assumed to contain lead paint unless actual testing shows otherwise. You may be at risk if the paint leaves a chalky residue on your hands, or if paint dust is created by friction surfaces like those on window frames or sliding doors. The paint should be tested if visible chips or dust are noted.
OSHA also forbids sanding and resurfacing, or demolition of any painted surface unless the paint has been tested and found lead free. Only trained lead abatement contractors can remove lead paint. If you see scenic artists or other theater personnel removing lead paint, they are violating the law and putting everyone in the building at risk.
l ASBESTOS. Some sources of asbestos are easily recognized such as old insulation around pipes and furnaces, ceiling tiles, acoustic board and tile, vinyl floor tiles, wiring (especially the white fuzzy variety on old lighting instruments). Management also should be able to advise which materials are asbestos.OSHA requires owners or lessors of any building in which people work to provide this information in the form of a survey report. Never disturb asbestos and do not work in areas loose, exposed, or powdery (friable) asbestos is found.
OBTAINING OUR RIGHTS
The OSHA regulations entitle you to a safe and healthy workplace. To obtain it, you must exercise those rights. Yet confronting management may be a bad career move. In some cases your union should be able to help. Otherwise you may want to contact one of the resources listed below.
We also need to work together to improve workplace conditions and to support our fellow performers when they are having problems. Instead, too many of us accept uncritically the “show must go on” philosophy. We are willing to put life and health at risk for the audience’s pleasure, the box office receipts, or even for a misplaced loyalty to historic traditions that date from a time when life was cheap. This opera tradition is due for a change.
SOURCES OF HELP:
CAN REMOVE THIS PARAGRAPH IF NECESSARY: If you have difficulty getting the technical information and help that your employers are bound by law to provide, call your union representative.Only sources for New York have been provided. Contact your OSHA office and/or union office in your area for information for safety/medical services.
