FIREARMS SAFETY FOR THEATRICAL PRODUCTIONS

[Based on a seminar by Jim Guy, props and weapons master for the 
Milwaukee Rep Theatre.]

Theatre audiences are desensitized and misinformed about firearms by 
     TV/film overexposure.
They expect more effect and less real danger than really exists.

Props masters must deal with the reality; set safety limits accordingly.

Key element in ANY effect:  no one should be injured.
     If gag that cannot be done safely, it can't be done. 
     No show worth injury or death.

Stage weapons are deadly weapons first!

Ammunition:
	"Real": Cartridge, Primer, Explosive, and Projectile
	"Blank": Cartidge, Primer, Explosive, and lightweight wadding. 
         NOTE: wadding is still a projectile, of lighter weight and limited range!

Weapons
	Revolvers and "Automatic" pistols (really are "auto-loaders").

Open-barrel verses closed-barrel guns:

Even a "blank" gun must never be fired directly at someone.
Wad and unburned/still-burning powder and gases can injure an actor 
at great distance.

Direction of discharge is not always obvious.

An open barrel is a "real" gun; anything lodged in the barrel is a "bullet".

A closed barrel gun: is designed to redirect the gasses of burning powder to side; 
direction of discharge can be unexpected.
Testing each weapon to determine safe distances and directions is vital.

Barrel types NOT interchangeable!
If you simply block an open barrel to covert it to a closed barrel type, 
You have created a hand-held pipe bomb!

Gun MUST be designed or converted by a qualified professional, 
not by the well-meaning amateurs in the prop shop.

Consistency
Rules to follow:
	* Always assume a gun is ALWAYS loaded, even if you just checked it.
	* Every gun must be tested before EVERY use, using the same tests every time. 
        This helps to reveal problems that may arise.
	* Avoid dry-firing guns;  
        dry firing (snapping the hammer on an empty chamber) damages a weapon 
        and makes it less reliable.
	* Show MUST have a firearms master, even if only one shell is discharged.
	* Weapons and ammunition (blanks) must be locked up in separate locations.
	* Before each performance:
		+ The weapons master unlocks and inspects each weapon.
		+ The actors involved, both the shooter and the "shootee", 
              have the right to inspect the weapon, and to load or to watch 
              the weapons master load the weapon if they wish.
		+ Weapon must then be placed in a locked cabinet, 
              or worn in a holster by the weapons master.
		+ At the last moment, weapons master lands the gun to the actor.
		+ Immediately after scene, master collects weapon and places it back 
              in locked storage.
		+ At no time may the weapon be left unattended where it might be 
              played with or tampered with.
		+ Immediately after use, weapons master must thoroughly 
              clean each gun, both to prevent corrosion that will reduce 
              the reliability of gun, and to remove any debris which might 
              otherwise become a projectile on the next use.

Training

When using a blank gun effect, everyone must be properly trained.
	* The weapons master should develop a safe effect, 
        then demonstrate same effect in front of actors.
	* Shooter and the shootee should change places for experience.
	* Every move at the moment of firing must be choreographed and rehearsed.
	* Use smallest practical blank load to avoid hearing damage. 
        A small charge reads very large in an enclosed space. 
        Moving even a few feet can half or double the loudness 
        due to room acoustics.
	* Ear protection should be employed as much as possible. 
        Simple foam ear plugs, flesh colored and cut down to 2/3 size, 
        will affect conversation only a little but help limit 
        percussive damage caused by a gunshot. 
        Actors may not want to wear them, but they should be 
        encouraged to do so.

Testing the range of a gun loaded with blanks.
	* Sheets of clean newsprint are suspended and the gun is discharged 
        at varying distances from the paper.
	* The paper is examined after each shot for dimples or holes from wads, 
        powder particles, and expanding gases.
	* When such dimples or "braille" is observed, you are within 
        the danger zone of the weapon.

With closed barrel or vented weapon, this zone is actually to SIDES; 
     conduct test accordingly.

The effect must then be created with this danger zone in mind.

The key to safe theatrical firearms effects:
	* Use experts trained in firearms safety to design the effects.
	* Use well-built weapons.
	* Assign one person to be always in charge of the weapons.
	* Follow consistent procedure in examining, loading, handling, 
        cleaning and storing of the weapons.
	* Thoroughly train handlers and actors in the actual use of the guns.
	* If there is ANY question of safety at all, weapons master MUST 
        have the authority to say NO until all doubts are cleared up.

REMEMBER:
No effect is ever worth an injury. 
The safest way available to create an effect is 
the one that should be used, always.