Hi-Fli has developed a range of specially designed stage flying harnesses. For most purposes, the first requirement is for a harness to fit snugly under a costume - which usually can't be achieved with industrial-type harnesses. Neither were they designed with the aim of giving the wearer any sort of convincing natural posture. For theatre, another frequent requirement is to enable quick and easy attachment (and removal) of the purpose-made slender flying wires. It is also often a benefit if the harness itself can be put on and removed in a twinkling. We are widely recognised for our experience in giving performers confidence and working with the whole creative team to get the best effect - we have just been flying Ant & Dec on some pre-production projects for the new series of 'I'm a Celebrity'.

In developing our range of harnesses, these factors have informed our choice of materials, the method of construction and the configurations of suspension points. Our many years of daily experience also allows us to 'weigh-up' a performer (often literally!) and assess which style and size of harness is best suited for their body shape, comfort and character. Recently we had great fun flying Ruth Jones ('Nessa' in Gavin & Stacey) for a BBC drama about Hattie Jacques and, in the same week, we were needing to harness and fly a couple of eight year olds for a TV commercial. This week, we have been working on a photo shoot for Nike with Mario Balotelli.

The selection of a particular harness design will also depend on the effect required. Maybe to achieve the classic Peter Pan pose or for a less graceful hanged man effect. A clever version of one of our somersault harnesses was the key to creating the transformation of the Beast in the stage version of Disney's Beauty and the Beast. The performing rights have now been released to amateur societies and we are busy rigging this effect in theatres of all sizes around the country.

We rarely hire out our harnesses as a single item - as they are usually provided as part of a larger rig with all the necessary components needed for a complete effect. For a simple hanged man effect, however, we do have a clever, purpose designed harness which we regularly send out (along with a practical rope noose) to stage a hanging for many amateur and professional productions - Hi-Fli has staged this effect for more than 1000 productions of 'Habeas Corpus' from Singapore to New York.

Sir Peter Hall recently directed a new production of 'Habeas Corpus' and decided to call in Hi-Fli. The Royal Shakespeare Company are using this system in their production of 'King Lear' starring Ian McKellen. We worked with Northern Ballet to create a dramatic finale to 'The Hunchback of Notre Dame' for the hanging of Esmerelda. We installed a rig at the Royal Exchange Theatre for a performer to hang herself in 'An Experiment with an Air Pump' and, for the Royal Court Theatre, to give the reverse effect of a person suspended upside-down by his ankles for their production of 'Mojo'