Hi-Fli theatre flying effects use a flying track and flying harness as flying equipment to stage Peter Pan and other pantomime productions.

Hi Fli install stage flying effects and harness for theatre shows such as Peter Pan and The Witches of Eastwick. Mike Frost is creative director of hifli based in Manchester. Hi-Fly installs a flying carpet effect for the pantomime Aladdin and a hot air balloon basket for the Wizard of Oz. Other aerial effects include theatre flying equipment to fly three performers in the Witches of Eastwick and a theatre flying rig for stage flying effects in Peter Pan. A hanged man effect for Habeas Corpus or Brassed Off uses a concealed harness and hangman's noose for hanging Mr Purdue. Hi Fly concealed harnesses are of a unique design for theatre flying effects - to be worn under a costume and used with flying equipment in Peter Pan to fly the actors. Hi fli are based in Manchester and hire stage flying equipment including Kirby wires for aerial flying effects to theatres all over the UK and abroad. High Fly provide complete Method Statement and Risk Assessment for installing stage flying effects in theatres using flying equipment and a flying harness. Flying Effects for many theatre shows including Peter Pan and The Witches of Eastwick. Flying harness for wearing under a costume. Other spectacular effects are a flying bicycle, a flying carpet and a hot air balloon flying effect. Mike Frost at hi fly creates Flying Effects for shows such as Peter Pan, Fiddler on the Roof, The Wizard of Oz and The Witches of Eastwick. Other spectacular effects are a bicycle that flies, a flying carpet that flies and a hot air balloon which lifts off as a high-flying flying effect. Peter Pan has many opportunities to include theatre flying effects and hi fli often uses theatre flying equipment to great effect. Many theatres use hi fly to supply stage flying equipment and harnesses for theatre productions ranging from pantomime to ice shows. The Royal Shakespeare Company regularly uses Hi-Fli's harnesses to great effect. A hanged man harness is being used in 'King Lear'. Mike Frost is creative director of Hi-Fli based in Manchester. Hi-Fly installs a flying carpet effect for the pantomime Aladdin and a hot air balloon basket for the Wizard of Oz. Other aerial flying effects include theatre flying equipment to fly three performers in the Witches of Eastwick. A hanged man effect for Habeas Corpus or Brassed Off uses a concealed harness and hangman's noose for hanging Mr Purdue. Hi Fly concealed harnesses are of a unique design for theatre flying effects - to be worn under a costume and used with stage flying equipment in Peter Pan to fly the actors. Hi fli are based in Manchester and hire flying equipment including Kirby wires for aerial flying effects to theatres all over the UK and abroad. High Fly provide complete Method Statement and Risk Assessment for installing performer flying effects in theatres using stage flying equipment and a flying harness. Flying Effects for many theatre shows including Peter Pan and The Witches of Eastwick. Flying harness for wearing under a costume. Hi-Fli, based in Manchester, installs kirby wires for levitation effects and stage flying effects used in theatre video and photo shoots. Concealed harnesses are often designed for performer flying effects and are worn under a costume by a performer in a production. Pantomimes use flying effects to fly a fairy or other character with stage flying equipment rigs. Hi-Fly have created robust theatre flying equipment that is quick to install and simple to operate. Flying Effects for many theatre shows including peter pan and The Witches of Eastwick. Flying harness for wearing under a costume. Other spectacular theatre flying effects are a flying bicycle, a flying carpet and a hot air balloon flying effect. Mike Frost at hi fly creates performer Flying Effects for theatre shows such as Peter Pan, Fiddler on the Roof, The Wizard of Oz and The Witches of Eastwick. Other spectacular effects are a bicycle that flies, a flying carpet that flies and a hot air balloon which lifts a flying effect. Good body content helps keep hi-fli flying high with stage effects. Peter Pan has many opportunities to include theatre flying effects and hi fli often uses theatre flying equipment to great effect. Many theatres use hi-fly to supply flying equipment and harnesses for productions ranging from pantomime to ice shows. The Royal Shakespeare Company regularly uses Hi-Fli's harnesses to great effect. A hanged man harness is being used in 'King Lear'.
Page 1
Page 1
Highlight Brilliant ideas
Performer Flying
A safety protocol and method statement for
Mountbatten Players
Peter Pan in the Abbey
Titchfield Abbey
August 2004
Revision 1.0 June 2004

Page 2
Page 2
Performer Flying
A protocol outlining the policies and issues for safely flying performers during the
performance of Peter Pan at the Abbey to be held at Titchfield Abbey during August
2004.
Introduction
The Mountbatten Players are to perform a musical version of the children’s classic
Peter Pan at Titchfield Abbey near Fareham during the Titchfield Festival in August
2004.
There is an expectation by the audience that during this performance certain
characters will fly. Despite the practical difficulties of flying in the open air, the
production team have asked that two flying effects be included to ensure that the
audience are not disappointed.
This protocol outlines the safety considerations taken into account during the design
of the effects, and details the safe working practices to be employed during the
rigging and operational phases of the effects. In doing so, we seek to satisfy venue
management and local licensing authorities that a safe and proper system of work is in
place and that the risks involved with performer flying have been identified, and
control measures introduced.
Mountbatten Players wish to amaze, amuse and entertain their audience, but in doing
so, they wish to provide a safe environment for all involved.
In preparing the document, reference has been made to the following legislation and
guidelines:
1. Association of British Theatre Technicians, Code of Practice for the Theatre
Industry Part 2 Chapter 1 – Flying.
2. Work at Height Regulations 2004 (WHR)
3. Lifting Operations and Lifting Equipment Regulations1998 (LOLER)
4. Provision and Use of Work Equipment Regulations1998 (PUWER)
5. Scout Association –Aerial Runway Code 2002 Ed5

Page 3
Page 3
The protocol is divided into 4 Sections.
Section 1
The specification of equipment and general safety aspects to be
taken into consideration when flying performers.
Section 2
Details of Effect 1 - the straight vertical lift of Peter, Wendy,
John and Michael during the song Fly with the stars.
Section 3
Details of Effect 2 - an Aerial runway to enable Peter Pan to
‘fly’ from the back of the seating area, down the centre aisle to
the acting space.
Section 4
Training and operation of flying effects.
Section 1 – Specifications and General Safety
Definitions
Breaking Strain / Load
The minimum load which will cause a component to
fail.
SWL
Safe Working Load. The maximum load (as
certified by a competent person) that may be carried
under particular service conditions.
System SWL
Taken to be the lowest SWL of all components in
the system.
Safety Factor
The Ratio of the Breaking strain to the SWL.
LOLER recommends a safety factor of 5; however
ABTT CoP suggests a Safety Factor of 8 should be
used in the theatre such that the SWL is 1/8 the
breaking load.
WHR
Work at Height Regulations 2004.
LOLER
Lifting Operations and Lifting Equipment
Regulations1998.
PUWER
Provision and Use of Work Equipment
Regulations1998.
ABTT Flying
Association of British Theatre Technicians, Code of
Practice for the Theatre Industry, Part 2 Chapter 1 –
Flying.

Page 4
Page 4
General Safety Aspects
When designing a system for flying people, it is obvious that major safety
implications exist for the person being flown and also for the audience. However it is
sometimes less obvious to take into account the risks to other people, actors, crew and
operator. In this section, an attempt will be made to identify these risks and suggest
control measures.
The most palpable risk in performer flying is the failure of the rig itself, although
experience shows that this is not common and is controlled by correct design,
thorough and regular inspections and trained competent operators.
The rig will be constructed following the ABTT Code of Practice to minimise the
possibility of rig failure. All components will conform to the relevant BS
specifications and the SWL of the rig designed to handle the heaviest flyer. Once
completed, the rig will be inspected by an independent competent person and load
tested to a load 1.5 times the system SWL. The rig will be inspected daily for signs of
wear.
Each flier will have their own trained operator, and a trained understudy will be
nominated for each operator. Flying harnesses are adjusted to fit the individual
performers and will be marked to aid identification by the performers. Harnesses will
also be inspected daily in the presence of the performer.
In fact the most common incident occurring with performer flying is when the flyer
bumps into scenery or other actors when swinging in a pendulum fashion.
Unfortunately, the pendulum swing is a very convincing effect and is widely used in
many performances. The longer the drop wire, the further the actor can move in a
lateral direction. It is important therefore that the operator can predict the flyer’s
movement; a swift pull on the control line will slow the flyer and cause them to
change direction. Equally the flyer has some control; in a similar way to that of a
child on a swing, a flyer can accelerate or slow down by amending their body posture.
The second most common risk is falling objects; the flyer must avoid dropping
objects onto the acting space below. He or she should remove all unnecessary items
from pockets and those essentials such as radio mic packs must be contained in zip or
velcro pockets.
Problems can sometimes occur when the flyer is launching from a high platform into
space. In this case the performer should be lifted above the platform so that the
weight is taken by the rig before being moved out over the flying space.
In the case of effect 1 where the performer is required to fly down the central aisle of
the seating area, ushers will be positioned to ensure members of the audience do not
enter the flying area immediately before or during the effect. The effect will also be
designed such that the performer can not swing over the audience seats themselves.
Only trained designated performers will be allowed to use the flying effects; only
trained designated operators will be allowed to operate. Effects will be disabled by
key operated lock when not in use.

Page 5
Page 5
Equipment Specifications
1. All components used will comply with the relevant BS specification, will be
CE marked and will be marked with SWL or coded so that SWL can be easily
identified.
2. Ropes – man made fibre ropes should be made of polyester and conform to BS
EN 697.
Where ropes are terminated in a loop or thimble, they should be spliced with
not less than 4 complete tucks across the lay of the rope.
Ropes will be coded with coloured PVC tape at both ends so that the SWL can
be easily identified.
3. Wire Rope – Made from galvanised or stainless steel, 6 cores of 19 wires
around a central core of 19 wires. To conform with BS EN 302.
Wires to be terminated using a suitable coupling device giving a strength of at
least 80% of the wire.
4. Pulleys – fibre rope; should comply with BS EN 3810/4344.
5. Pulleys – wire rope; should comply with BS EN 3810/4536.
6. Shackles etc - should comply with BS EN 3551/6994.
7. Harnesses – harnesses designed for climbing and fall arrest applications are
not generally suitable for flying personnel in a theatrical application. The one
possible exception to this advice is the Petzl Newton or Newton Fast harness
which is designed in a similar way to the Kirby theatrical harness. The
Newton lacks the additional padding of the Kirby, so additional padding must
be provided for prolonged use. No BS specification currently exists for
theatrical flying harnesses.

Page 6
Page 6
Section 2 Vertical lift – Flying with the Stars
Design Considerations
ABTT give the following advice: Generally when lifting people on stage a safety
factor of twelve should apply. However because of the nature of the effect and
because the precise load can be ascertained, it is acceptable to apply a safety factor
of 8 to the flying wires which are visible to the audience, thus achieving the most
effective but safe system.
The CoP allows for the use of thin single strand wire for the visible wire, but to aid
with the practical rigging of the system 3mm multi-core wire to BS EN 302 will be
used. This has a breaking strain of 540 Kg allowing a performer of 67.5 Kg to be
flown safely. Suitable terminations will be made off site by Bursledon Riggers.
ABTT stipulate that the diameter of pulley sheaves should be 30 times the diameter of
the wire used. 3 x 30 = 90mm. A Doughty 100mm single sheave wire pulley type
DOUT42800 with SWL of 150Kg will be specified for the header and drop blocks.
The connection of the wire to the harness needs to be able to be connected and
disconnected quickly but must have a positive safety lock to prevent accidental
opening during flight. Three types are considered to be suitable, and practical tests
will be carried out to ascertain the most appropriate type. They are: the Screw Gate
Karabiner; the D Ball Lock Karabiner and the Gibb Safety Hook.
The actual lift can be provided either by a suitable electric winch or by a manual
system. In this case, a manual system is considered to be more natural as the operator
has a more intimate feel of the flyers movement. To reduce operator load, a 4 to 1
reduction ‘Block and Tackle’ system will be fitted to the operator end of the lift wire.
the system specified is a Bowden commercial system using 70mm sheaves and 14mm
braided 16 plait matt polyester rope to BS EN 697. The system SWL of the ‘Block
and Tackle’ using the safety factor of 12 is 165Kg.
Ground anchor
Operator
Flyer
Drop P ulley
Header Pulley

Page 7
Page 7
The drop pulley of the vertical lift flying rigs will be attached to a mock balcony
platform constructed between the north towers of the abbey. The platform has been
designed and will be supplied by Robert Shaw of RBS Scaffolding Ltd. RBS were
established in 1987 and specialise in temporary structures in historic buildings.
The platform itself is inherently stable, but further stability will be provided by
passing poles through the window spaces and connecting to the existing structure.
A scaffold tower will be created inside the main abbey tower and tied into the existing
scaffolding to provide the support for the header pulleys and the ground anchor.
The operators will stand in the tower behind their flyers, and will have line of sight to
the flying space through a scenic gauze.
It is envisaged that this effect will last for approximately 2 minutes during the song
Fly with the stars. During the evening performances this song is scheduled to start at
around 8.00pm so a considerable amount of daylight will still light the acting space.
Some stage lighting will be used to supplement this.
Section 3 Aerial Runway – Peter Pans first entrance
Design Considerations
Considerable time has been spent discussing a suitable effect to simulate Peter Pan’s
first entrance into the nursery. The effect will be used only once, at the start of the
performance in normal daylight. So it has been decided that the use of an aerial
runway would provide the safest means by which Peter can fly onto the set and still
create significant audience ‘wow’ factor.
Aerial runways are often found in adventure playgrounds, and smaller versions in
local authority recreation grounds. In most cases the flyer sits on a swing seat, tyre or
just hangs from a crossbar handle. It is not surprising therefore to discover that in
almost every accident involving an aerial runway the fault lay in either the seat, the
method of attachment to the travelling block or the breaking system. It is these risks
that will be examined first.
The effect of Peter flying means that the standard flying harness will prove to be far
more effective than a seat and also has the added advantage of being much safer. The
harness will not allow the performer to slide out of the seat and will be attached to the
travelling block via a short drop wire using a karabiner, as described above.
Primary breaking will be provided such that at no time is the travelling block allowed
to free-wheel down the main hawser. An 8 to 10mm braided rope will be attached to
the back end of the travelling block and this will be run back over a suitable brake
pulley and wrapped with at least one complete turn around a 48mm bar to provide
breaking friction.

Page 8
Page 8
A secondary break will be provided at the ground end of the runway to ensure that in
the event of primary break failure, the performer cannot hit scenery or other actors.
The runway will be designed and rigged by David Fairclough from Southampton
Venture Scouts using a braided rope or raid rope with a BS of at least 3 tonnes and a
Petzl tandem travelling block BS 2.4 tonnes.
The head end of the runway will consist of an 8m alloy scaffold tower situated behind
and clamped to the roof of the audience dome. It is also envisaged that additional
bracing will be fitted to the tower to tie it into the adjacent wall.
The hawser will be fixed at a level between 2 and 3 metres above the audience staging
so that in flight the performer’s feet will be approximately 1.2m off the staging.
The hawser will pass over a pulley and be fixed using shackles and a span set to the
ground anchor consisting of 480 Kg of water ballast in two plastic tanks.
At the lower end, the hawser will pass over a pulley fixed to the underside of the
mock balcony where it will terminate on a similar ground anchor.
The hawser is designed to have an incline of about 15 degrees to enable the performer
to reach a flying speed of about 1 – 2 m/s. The inclination will have to be adjusted on
test to ensure that the best flying speed is achieved.
Provided the stretch and droop of the hawser is at least 10 degrees, then with a 60Kg
performer the load at each end of the hawser will not exceed 180Kg, well within the
250 Kg SWL of the rig.
The system will be adjusted and tested with a 60Kg flying load and then finally load
tested with 90 Kg load prior to the first manned flight.

Page 9
Page 9
Section 4 Training and Operations
Training
The primary operators for the vertical lift have all been trained by a Flying by Foys
technician and acted as primary operators in a previous performance of Peter Pan at
The Point in Eastleigh. Reserve operators will be trained prior to rehearsals.
Further training will be given in the following areas:
 Component parts of the flying system
 Routine safety checks
 Safety issues with performer flying
 Cause and Effect - how the operator influences the flight
 Emergency procedures
The primary operator for the aerial runway will be David Fairclough. David has
rigged and operated aerial runways for Southampton Venture Scouts on numerous
occasions over the past 7 years. A secondary operator will be nominated and trained
prior to rehearsals commencing.
Three out of the four performers who will be flying have done so before during the
performance of Peter Pan at the Point in 2003. They were trained by Foys but all will
receive further training along with the operators.
Operations
Vertical Lift
1. All operators to satisfy themselves that their rig is sound, including the fitting
of the performer’s harness prior to each performance.
2. Operators to be in place 5minutes before the start of the flying scene.
3. No operator to commence a lift or continue a move if the performer is not
visible.
4. If an operator’s vision is obscured by another person or prop etc during a
move, the move is to be halted and the control rope locked off until vision is
restored. If this should exceed 1 minute a slow emergency descent should be
commenced.
5. Hi-Fli calculate the safe working load of flying wires according to British Standards recommendations.
Page 10
Aerial runway
1. Only a trained operator to operate this effect.
2. Only a trained Aerial runway flyer (Peter Pan/stunt double or trained
understudy) to travel on this effect. It is not a fairground ride!
3. Brake to be locked off and performer standing on loading step before drop
wire connected to harness.
4. Performer leans forward to take weight on harness.
5. Operator to ease break to allow performer to start decent.
6. Operator to control descent at approx 1 to 2 metres per second or as amended
by production manager on site.
Conclusion
It can be seen that provided the control measures outlined are implemented, an
exciting but safe effect can be devised. As with all effects of this nature, risks and
practical difficulties may become apparent during the course of the rigging and testing
phases of the effects. If this is the case, a pragmatic approach to the design and
implementation will ensure that any changes to the design are kept within the
guidelines that have governed this document.
This document will be available on the Mountbatten Players website at
www.mountbattenplayers.co.uk/technical and any revisions will be posted there.
Document written by David Buss, Highlight Brilliant Ideas
Published by Mountbatten Players
24 Hour Museum  
 
Text-only Version
June 17 2008
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PETER PAN - 100-YEARS-OLD AND STILL FLYING AT THE THEATRE MUSEUM
By Lucy Jane Tetlow 03/12/2004
Shows a photograph of a set of pan pipes, suspended on strings.

The Pan pipes used by Pauline Chase as Peter Pan at the Duke of York's Theatre. Pauline took the role of Peter in the 1906-1907 revival and played it for eight seasons.

Making sure she had enough fairy dust, Lucy Jane Tetlow flew out the window and made for the Theatre Museum to see a tribute to an enduring childhood hero.

Peter Pan is big news at the moment. Not only is the original play by J. M Barrie one hundred years old this month, but there is a major film, a search for a sequel and this display.

Wax figure of Jean Forbes-Robertson as Peter Pan by Gwendolen Parnell, 1930. Forbes-Robertson first played Peter in the 1927-1928 season and took the role for a record-breaking nine seasons in total.

Shows a photograph of a small statuette of Peter Pan holding a sword. It is mounted on a miniature podium.

The Theatre Museum has combined forces with Action for Children’s Arts and Great Ormond Street to celebrate this important anniversary.

The display, at the Covent Garden-based museum, opened on November 30 and will run until March 13 2005.

It features 100 photographs of a range of productions of Peter Pan put on since its opening in 1904 and charts the visual history of this extraordinary play.

Shows a photograph of an Edwardian flying harness used for the role of Peter Pan.

Flying harness designed by master stage carpenter George Kirby and used in the original production of Peter Pan at the Duke of York's Theatre, 1904.

Objects on show include the costume worn by Pauline Chase, one of the first actresses to play Peter, and an Edwardian flying harness, which helped create the effects that have made the play so magical for generations of children.

There is no getting away from the fact that this is a tiny display, only one case in the foyer, but if you haven’t been to the Theatre Museum before then this should serve as a good reason to go and will give you enough time to explore the rest of this fascinating museum.

All images courtesy of the Theatre Museum, Covent Garden.

Theatre Museum, London
 

Russell Street, Covent Garden, London, WC2E 7PR, England
T: 020 7943 4700
Open: Open Tues-Sun 1000-1800. Closes permanently on Sunday January 7 2007.

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