Anti Spam Anti Spam Anti Spam www.hi-fli.co.uk theatre flying effects use a stage flying track and performer flying harness as flying equipment to stage Peter Pan and other pantomime productions. Hi-Fli install flying effects and harnesses for theatre shows such as Peter Pan and The Witches of Eastwick. 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 effects include flying equipment to fly three performers in the Witches of Eastwick. A hanged man efect 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 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 flying equipment including Kirby wires for aerial effects to theatres all over the UK and abroad. Hi-Fli provide complete Method Statement and Risk Assessment for installing flying effects in theatres using flying equipment and a flying harness. Hi-Fli install theatre performer flying effects and harnesses for theatre shows- providing flying effects equipment for hire for stage productions such as Peter Pan and The Witches of Eastwick. Mike Frost is creative director of Hi Fli based in Manchester. Hi Fli installs a flying carpet effect for the theatre pantomime Aladdin and a hot air balloon basket for the Wizard of Oz. Other aerial effects include flying equipment to fly three performers in the Witches of Eastwick. A hanged man efect for Habeas Corpus or Brassed Off uses a concealed harness and hangman's noose for hanging Mr Purdue. Hi Fli concealed harnesses are of a unique design 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 theatre flying equipment including Kirby wires for aerial tricks to theatres all over the UK and abroad. Other providers of flying rigs are kirby and foy both based in London. Hi-Fli is based in Manchester. Hi Fly installs kirby wires for stage levitation effects which are used for performer flying in theatre, video and photo shoots. Concealed harnesses are often designed for effects and are worn under a costume by a performer in a production. Pantomimes use flying effects to fly a fairy or other character. Hi-Fly have created robust flying equipment that is quick to install and simple to operate. Our flying track can be rigged to fly a flying bike, a flying bed or flying carpet. Mike Frost at hi-fli designs Flying Effects for many theatre shows including Peter Pan and The Witches of Eastwick. Other spectacular effects are a flying bicycle, a flying carpet and a hot air balloon flying effect. Hi fli creates Theatre Flying Effects for stage shows such as Peter Pan, Fiddler on the Roof, The Wizard of Oz and The Witches of Eastwick. Our reputation helps keep hi-fli flying high with stage effects. Peter Pan has many opportunities to include flying effects and hi fli often uses flying equipment to great effect. Many theatres use high 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'.
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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

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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
Consultation and advice has been sought from theatre flying experts Kirby’s AFX and
Flying by Foy, and the document incorporates industry best practice.
Kirby’s AFX produced the first flying effects for the original J M Barrie production of
Peter Pan in 1904.
Flying by Foy have been UK market leaders in performer flying since 1984.

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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.

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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.

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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.

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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

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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.

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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.

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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.
Production Manager David Buss has followed a formal course of training given by
Foys and has designed flying rigs and operations for 4 previous productions. He has
worked in the theatre technical industry for 5 years following a 21 year grounding in
broadcasting.
Further training will be given in the following areas:
ï‚· Component parts of the flying system
ï‚· Routine safety checks
ï‚· Safety issues with performer flying
ï‚· Cause and Effect - how the operator influences the flight
ï‚· 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. Only trained operators should fit the flying wire karabiner to the harness.

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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