Last reviewed and updated: October 2026

The update and publication dates appearing at the bottom of this page are the dates when the content migrated to this website, not when it was last reviewed and updated.

Overview

Most orchestra musicians perform either on stage or in an orchestra pit accompanying opera, ballet or musical theatre.

The equipment used usually includes:

  • musical instruments
  • chairs
  • music stands
  • overhead lighting and/or music stand lighting

The orchestra pit is a large opening in front of the stage. It is a hazard in the work of stage performers, musicians and stage personnel.  This guideline covers some of the safety precautions employers and employees should take when working near an orchestra pit.

According to the Occupational Health and Safety Act (OHSA) an employer must acquaint a worker, or a person in authority over a worker with any hazards in the work (Clause 25(2)(d)) .

Any guideline for pit safety should begin with the reminder that while the OHSA makes it clear that the employers have the greatest responsibilities with respect to health and safety in the workplace, all theatre workers should be responsible for each others' safety especially directors blocking actors in a production, and stage performers handling items on stage out of sight of the pit musicians. Common sense should always be used around the pit.

This resource has been prepared by representatives of the live performance industry. This resource does not replace the OHSA and its regulations and should not be used as or considered legal advice. Health and safety inspectors apply and enforce these laws based on the facts they find in the workplace.

Terms used in this guideline

This guideline uses several industry-specific terms. These definitions are provided for clarity and guidance only and, unless otherwise noted, are not definitions found under the OHSA or its regulations.

Bump line
A temporary barrier put up to warn workers that they are approaching an unprotected opening.
Chair rail
A low molding attached to the edge of a riser, usually made of wood, to help prevent chairs or music stands from sliding off the riser.
Competent person
A person who:
  • is qualified because of knowledge, training and experience to organize the work and its performance,
  • is familiar with the OHSA and the regulations that apply to the work, and
  • has knowledge of any potential or actual danger to health or safety in the workplace.” [OHSA, s. 1(1)]
Flame resistant
Any material that self-extinguishes when the flame source is removed.
Guardrail system
An assembly of components joined together to provide a barrier to prevent a worker from falling from the edge of a surface.  [s. 1(1) of the Construction Projects Regulation (O. Reg. 213/91)].
Handrail
A long bar of wood or metal put up to help workers moving from one level to another and to protect them from falling.
Leader (conductor)
The person responsible for the musical performance of the orchestra.
Music stand lighting
A source of light attached to a music stand.
Orchestra contractor
The person responsible for hiring the musicians, and who acts as a supervisor. In some cases, this may be the personnel manager.
Orchestra pit
An area at the front of the stage and sometimes partially under the stage. It is separated from the audience by a pit well and rail. When the musicians sit in the orchestra pit to perform, their heads are usually below the surface of the stage.
Service
The period of time, either rehearsal or performance, for which musicians are contracted to work at the venue, generally 2.5 or 3 hours.
Sound pressure level (SPL)
The intensity of sound measured in decibels.
Stage/pit plot
A drawing which shows the position of chairs, music stands, microphones, sound shields, etc. of the orchestra performance area.

Rights and duties

The main purpose of the OHSA is to protect workers from health and safety hazards on the job. It sets out duties for all workplace parties, including employers and supervisors, as well as duties and rights for workers. In addition to any material in this guideline all workplace parties must know their general and specific rights and duties under the OHSA for creating, participating in, and maintaining safe workplaces.

The Health and Safety Advisory Committee for Live Performance strongly encourages employers and workers to follow these guidelines.

Event planning

The safety of the public, performers, and production workers is most important in all live performance events. Follow the steps below for their safety:

  • Do a risk assessment as part of the event planning.
  • Make sure that all participants know what to expect before a rehearsal or performance, including adequate training and rehearsal.
  • Make sure that any fog, haze, laser, projection, or other effects are used safely during a rehearsal or performance, for example, laser and projections should not go into the eyes of the musicians.
  • Make sure that any residue from a fog or haze product is cleaned up after a rehearsal or performance. A floor or other surface used by a worker must be free of hazards. [Industrial Establishments Regulation Reg. 851, s. 11 ]

Risk assessment

For a general overview of the risk assessment process, refer to risk assessment for productions . 

An accurate stage/pit plot is essential for evaluating hazards to the orchestra. When doing a risk assessment for an orchestra stage or pit performance, think about the following factors:

  • the number of performers
  • the lighting conditions and levels
  • the kind of activity taking place on the stage, separate from the playing of music
  • the direction/choreography of that activity and whether it creates extra risk
  • raked stages, which could make objects roll into the pit
  • props/set pieces that could end up in the pit, if not handled correctly
  • fog/haze being used in the performance (see the fog and haze guideline)
  • ladders and other equipment used for set-ups, especially when they are close to the edge of the pit

Sound levels

Orchestra environments have, by necessity, a concentration of intense workplace sound, which may result in long-term hearing damage if not properly controlled and managed. Orchestra workplaces fall under the Noise Regulation (O. Reg. 381/15). The Noise Regulation sets out a number of requirements employers must comply with including the following:

  • Employers must take all measures reasonably necessary in the circumstances to protect workers from exposure to hazardous sound levels [O. Reg. 381/15, s. 2(1)].
  • Protective measures shall include the provision and use of engineering controls and work practices, and hearing protection devices in prescribed circumstances [O. Reg.381/15, s. 2(2)].
  • Employers must specifically ensure that no worker is exposed to a sound level greater than a time-weighted average exposure limit of 85 dBA (decibels measured on the A-weighting network of a sound-level meter) measured over an 8-hour workday [O. Reg.381/15, s. 2(4)].

In addition to the requirements set out in the regulations, the live performance sound levels guideline recommends a number of best practices employers should implement to protect workers’ hearing.

Using the sound levels guideline, workers and management should work together to reduce possible short- and long-term hearing damage to musicians. The goal is to achieve a safe sound environment without changing the production quality.

Performance space/ergonomic factors

Not enough space to play an instrument may cause injury.

The orchestra contractor, production manager or leader should be responsible for making a stage/pit plot available to the person in charge of the orchestra set-up with sufficient time for the set-up of the performance area and for any problems with the set-up to be resolved. The stage/pit plot should allow for enough space for each musician to perform.

The stage/pit plot should be designed with all aspects of the performance in mind. There should be enough space at the front of the stage to let performers such as conductors, soloists and dancers safely enter, exit and participate in their section of the performance.

Each musician should have a well-maintained chair, appropriate for their needs.

Seating on a raised platform

Musician seating is often arranged on raised platforms (“risers”) in very compact formations. This situation creates a risk of falling for workers, their instruments and other equipment. The following safety steps can help lower the risk:

  • Each riser should have chair rails where needed that are strong and high enough to help prevent chairs or music stands from sliding off the edge of the riser.
  • Risers higher than 24 inches (600 mm) must have a guardrail. [Ontario’s Building Code]
  • All riser edges should be properly marked.
  • All access points and paths of travel should be properly marked.
  • Entrance/exit stairs to and from any performance platform should have a handrail and should be wide enough for musicians to carry their instruments.
  • A step up to a riser should not be more than twelve inches. If there is more than one riser, stairs should be wide enough so that musicians carrying instruments can reach each riser level safely.

Electrical power

The stage or pit may have circuits for different uses such as music stand lighting, theatrical lighting, instrument/audio power, and more. All devices should be supplied with enough power and plugged  into a suitable source.  See Reg. 851 s. 40–44.2 for specific requirements regarding electrical equipment, insulating materials and conductors.

A competent person should place, plug and re-plug all cables.

Adequate power should be provided for all electrical needs. For music stand lighting, sufficient circuits (at least 2) should be provided to prevent accidental blackout of the entire stage or pit.

Circuits for music stand lights should be used only for those lights. Fans, instruments, amplifiers, and personal items, such as tuners and phone chargers, should never be plugged into stand light power.

Personal comfort devices, such as fans or heaters should not be added into stand light power without explicit permission. Extra care should be taken with heaters which are a fire hazard.

Lighting

Insufficient music stand lighting or changes to stage lighting may cause difficulty in reading music and lead to eye strain. The guidelines below should be followed to prevent eye strain:

  • Provide enough lighting before and after any activity in the performance area to allow safe entry or exit for performers and their instruments.
  • Provide enough lighting on all music stands to prevent eye strain while reading sheet music.
  • Set and rehearse light levels and changes to levels, including dimming, blackouts and restoration before the first performance.

Electrical/audio wiring on floor

Wiring is a major trip hazard, especially in low lighting conditions in orchestra pits.

A stage/pit plot should be provided with enough time to wire the stage or pit safely before the first rehearsal. The stage/pit plot should show seating, risers, music stand placement and any other equipment. If changes are needed, sufficient notice should be given to ensure there is enough time to make the changes.

Cables should not block normal traffic patterns. When that is not possible, they should cross the pathway at a right angle and be protected by a cable ramp or mat, or by taping. All cables should be long enough to reach the plug-in box without being stretched. If power bars are used, they should not be plugged into one another. All cables should be protected from damage by chairs or other equipment.

Cables, ramps and mats should be taped down to prevent slip and trip hazards. Connections should never be located in a pathway, or under a mat.

Placement of microphones and audio wiring should allow for adequate room for instrument performance and must not create a tripping hazard (Reg. 851, section 11).

Ventilation and air quality

An orchestra performance area is a workplace that,  is required  to be adequately ventilated by either natural or mechanical means so that the atmosphere  does not endanger   the health and safety of workers.

[Reg 851, sections 127 & 128].

Where an orchestra performance workplace is enclosed, it must be kept at a suitable temperature for the work and not less than 18° Celsius [Reg 851, section 129 ].

The orchestra performance area should be kept scent-free. For some people, scents and odours can cause health problems such as headaches, dizziness, nausea, upper respiratory symptoms, and skin irritation.

Housekeeping/floor hazards/fire hazards

Orchestra pits, especially for long-running shows, can become cluttered with items such as books, drinking cups, and more that are not needed for the performance. Follow the suggestions below to keep a clutter free work area, and to control for potential floor and fire-related hazards:

  • Clean the performance area regularly.
  • Each musician should remove all personal items and garbage daily. Put garbage cans where they are reasonably available to performance areas.
  • Empty the moisture from woodwind and brass instruments into absorbent sheets or into a container with absorbent material and dispose of this properly. Moisture should never be emptied onto the floor.
  • Do not leave instruments and cases where they interfere with safe access to the performance area or to cleaning the area
  • Drinks and open containers of water for reeds are a possible electrical hazard. Bring only covered containers into the performance area.
  • No one should be in the performance area during any major re-organization of the orchestra set-up.
  • Put at least 2 appropriate fire extinguishers near the performance area. Put the fire extinguishers where they can be easily reached [Reg. 851 s. 123].
  • Clearly mark and protect anything hanging from the ceiling (sprinkler heads, light fixtures, pit cameras).
  • Protect all workers from any fireworks (pyrotechnical) debris (OHSA section 25(2)(h).

Orchestra pit safety covers

The employer of a venue that has an orchestra pit should be responsible for providing a pit safety cover, its installation and maintenance. The purpose of the pit safety cover is to prevent workers from falling into the pit during set-up, and to protect musicians from falling props or people during rehearsal and performance.According to section 15 of the Industrial Establishments Regulation, the pit safety cover must be secured in place  and constructed to meet the structural requirements for loads due to the use of floors and roofs as set out in Ontario’s Building Code.

The following guidelines for pit safety covers should be followed:

  • When there are people in the pit, the pit safety cover should be in place. At all other times either the pit safety cover should be in place or a warning barrier/bump line should be placed at waist level, at a safe distance from the edge of the pit opening.
  • An orchestra pit safety cover should:
    • be able to take impact, including the weight of a human body falling from the stage
    • begin at the stage and go across the entire width of the pit at enough distance from the end of the stage to stop objects and workers from falling into the pit
    • be flame resistant and not interfere with the proper air flow of the orchestra pit
    • let the sound travel through the cover material (be acoustically transparent) to make sure that sound is not reflected back to the performer
  • The pit safety cover should protect the entire pit opening. If parts of the production set go into the pit area, the pit safety cover may need to be reconfigured or replaced.
  • The shape and size of the opening in the pit safety cover should let the conductor work without difficulty and not risk the safety of the musicians.
  • A flame-resistant theatrical gauze or scrim may be stretched over the pit safety cover to stop smaller lightweight objects from falling into the pit. In these cases, steps should be taken to ensure the orchestra pit has proper air flow.
  • In cases where it is physically impossible to install a pit safety cover, the management of the venue should take all possible care to protect the members of the orchestra.

Fog, haze, lasers, projection, or other effects

In some cases, seating arrangements can expose musicians to greater hazard from special effects used in live performance.

For example:

  • sitting in a pit below stage level may mean that fog or haze settles there and doesn’t disappear easily
  • musicians may not be able to move or protect  their eyes from projection effects

Any of these hazards can be made worse by extended and repeated exposure.

When planning the use of fog, haze, lasers, projection or other effects, employers must consider how they may impact musicians. An employer has a duty to take every precaution reasonable in the circumstances to protect a worker OHSA s. 25(2)(h).

As the effect is put into use, employers must confirm that it is not creating extra hazards for musicians. If necessary:

  • change the seating arrangement
  • increase air flow to clear fog or haze effects from where musicians are sitting and make sure that the return air is free from  contamination [Reg 851, sections 127 & 128]
  • add shielding, or mask lasers and projections to keep them out of the eyes of the musicians

Evacuation

Each building has a fire safety plan. It is recommended that all workers know the emergency procedures.

Employers are required to comply with  Fire Code requirements  regarding fire extinguishers and keeping doors, public corridors and exits clear  [Reg. 851 s. 123 ].

The orchestra contractor, production manager, or leader should make sure that:

  • all workers know where the exits and escape routes are. Performance areas, and especially orchestra pits, may be in remote areas of the building. The escape route must provide a clearly marked and unobstructed passage to the outside of the building, structure or workspace
  • all substitutes and extras have a written orientation of safety measures at their first service in a venue
  • all workers know where the fire exits are

Contact

If you need more information, contact the Ministry of Labour, Immigration, Training and Skills Development Health & Safety Contact Centre:

  • email: webohs@ontario.ca.
  • phone: 1-877-202-0008 on Monday to Friday, from 8:30 a.m. to 5:00 p.m.,

Resources

Legislation

Ontario Regulation 381/15: Noise

  • Noise Regulation A guide to the Noise Regulation under the Occupational Health and Safety Act

Occupational Health and Safety Act

Ontario Regulation 851: Industrial Establishments

Ontario Regulation 213/91: Construction Projects

Ontario’s Building Code

Related guidelines

Authors

This guideline was developed and revised by the following industry professionals on the Orchestra Performance: Stage and Orchestra Pit Sub-Committee of the Advisory Committee for the Safety Guidelines for the Live Performance Industry in Ontario.

Current

  • Ian Cowie, Canadian Opera Company
  • Chuck Giles, Canadian Opera Company
  • Doug Hook, IATSE Local 58
  • Mark Lavaway, Mirvish Productions
  • Stephen Mosher, Canadian Federation of Musicians
  • Gord Myers, Toronto Musicians’ Association
  • Miriam Newhouse, Canadian Actors’ Equity Association
  • Dustyn Wales, Canadian Actors’ Equity Association
  • Chris Walroth, Toronto Symphony Orchestra

Past

  • Ron Dorman, IATSE Local 58
  • Cathryn Gregor, Canadian Opera Company
  • Chuck Homewood, Associated Designers of Canada
  • Peter Lamb, LivEnt
  • Stephen Mosher, American Federation of Musicians
  • Allan MacMillan, Toronto Musicians’ Association
  • Sharon Poitras, Theatre Ontario
  • Nigel Romeril, IATSE Local 58 — National Ballet of Canada