Theatre Design & Technology - Winter 2012 - 59

book
arnold wengrow

How Our Mad Dash to Chemical
Utopia Is Making Lab Rats of Us All

By Monona Rossol; Hoboken, NJ, John Wiley &
Sons, Inc, 2011; 256 pp. Cloth, $25.95.
Reviewed by Ellen E. Jones
Monona Rossol is a unique
character with a long history
of advocacy for consumers and
workers, especially for those in
the visual and performing arts.
She was a child performer in
touring vaudeville shows. As an
adult she studied studio art and
art education and then got a degree in chemistry. This range of
experience gives her a unique
understanding of the safety issues in the theatre industry.
Many members of USITT are probably familiar with Rossol's work in safety and industrial hygiene. Since 1995 she has been the health
and safety director for United Scenic Artist Local
USA 829 of IATSE. She is an active presence in
the Scenic Artists Forum, the online group offering safety information and translations of
corporate-speak about chemical ingredients for
any forum member with a question. She also
runs Arts, Crafts, and Theatre Safety (ACTS), a
not-for-profit corporation that provides health,
safety, industrial hygiene, technical services,
and safety publications to the arts, crafts, museums, and theatre communities.
Rossol's latest book, Pick Your Poison:
How Our Mad Dash to Chemical Utopia Is
Making Lab Rats of Us All, is not specifically
about the theatre industry. It is about your life
and your family's lives. Probably no one capable of reading the warnings inserted with a
prescription bottle still believes that every corporation chooses safety over profits. The connection between corporate profits and creating
new chemicals and getting them on the market as soon as possible is clear. The question
theatre design

another offers a clear and concise explanation
a Manufacturer Safety Data Sheet (MSDS); and
the third is an explanation of the New York Disclosure Amendment that controls labeling of
consumer products.

editor

Pick Your Poison

58

reviews

& technology

has now become, how does this constant and
uncontrolled exposure to "chemical stew" impact health as well as the environment?

Consumer and worker safety
Rossol does not hide the fact that she has always been on the side of consumer and worker
safety. However, she is specific about differentiating between factual content and
her personal opinions based on
her experience as a chemist and
safety officer. Documentation for
those facts is provided and easily
verifiable.
Rossol offers an education,
mostly in layman's terms, on how to
make sense of the information offered to consumers. She addresses
not only the factual information but
the advertising hype as well. The book is written
in a conversational style for a general audience. It
is easy to read even when lists of chemical names
or legal or scientific language are needed to explain a point. Her examples involve situations in
arts education and professional theatre as well as
with consumer products for the home.
Instead of segmenting the book into discreet
units, Rossol weaves the information throughout
the volume to emphasize the connections among
individual topics. The first chapter offers a brief
and interesting historical background on chemical research using specific examples of the introduction of chemical processes in the work place
and consumer products. It also outlines some of
the initial corporate and regulatory responses to
these issues.
She then specifically discusses cleaning
agents, paints, and makeup, three groups of
products found in almost every home. The final third of the book focuses on self-protection
through understanding "right to know" information, including how individuals are exposed
to chemicals, and American worker and consumer protection laws. Three appendices offer detailed information and definitions. One
appendix fully explains detergent additives;

winter

2012

Beware new and improved
The chapters addressing how little "nontoxic,"
"green," and "all-natural" really mean to a user's health and safety are of particular interest
to anyone shopping in the contemporary marketplace. For example, "nontoxic" can legally
mean that there are no immediate acute hazards
determined by toxicity tests so far or that the
product has not been proven to be toxic with
repeated exposures over time. More disturbing,
an art material can be labeled "nontoxic" if a
toxicologist paid by the manufacturer decides it
is safe. A product can be labeled "green" if the
manufacturer replaces a chemical banned for
environmental reasons with an unregulated one
from the same chemical family. The new chemical potentially has the same harmful properties.
Beware the label "new and improved" for this
reason. And if the package labeled "all-natural"
seems comforting, remember that anthrax is a
naturally occurring bacterium.
Counting on the consumer safety laws or
workplace safety standards for protection is no
solution. Rossol points out, "Of the more than
100,000 or more chemicals in commerce, the
EPA [Environmental Protection Agency] has jurisdiction over about 83,000 and has managed
to require and obtain testing of 169."
Her description of the timeline of workers
or consumers trying to hold companies responsible for dangerous chemical exposure also offers little hope for those seeking compensation.
For adults, the exposure to chemicals by
simply moving through the world has been long
term and frequently without knowledge or consent. Rossol reminds us that, for the most part,
those chemicals are in our body to stay, since
there is no way to remove them easily or eliminate future exposure from our surroundings.
Anyone who has been surprised by the scent of
fragranced dryer sheets on the wind as he or
she hikes through a nature preserve next to a
residential area knows Rossol is correct. Consumers need to take some responsibility for
educating themselves. They also should use



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2012

Contents
Theatre Design & Technology - Winter 2012 - 1
Theatre Design & Technology - Winter 2012 - 2
Theatre Design & Technology - Winter 2012 - 3
Theatre Design & Technology - Winter 2012 - Contents
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