Hi Marla
Forgive my delay in responding. I have been flying performers since 1983, and for full disclosure, I am the owner of a flying effects company (Vertigo - formerly Hall Associates Flying Effects). First, let me echo to advice of many who posted that you should definitely hire one of the professional companies who specialize in flying performers - not a company who focuses in another area but will fly your performers anyway.
When you work with a flying effects company, they should be considered part of your design team. Adding flying effects is not like adding a fog machine - it is adding another dimension to your performance, and you should be in contact with your flying director as you are designing your set, lights, costumes, etc. A flying company should work with you to ensure that the flying effects support your story and do not eclipse it; that the equipment should blend with your facility and not obscure it; that the choreography and training work with your level of operators and performers and not overwhelm them. There is not a "standard package" for Mary Poppins, so you should be prepared to have some discussions with your flying director to determine what effects, equipment, and training are needed for YOUR production. In many cases, the flying director will know the story better than you do (because they have done it so many times), so they may be able to help you with suggestions, such as how to return Mary to the park with the kite.
Regarding Leon's concerns about insurance, remember that flying effects are supposed to bring a thrill to the audience, so it is in our nature to assume that it is dangerous. The gear provided by a reputable flying company is specifically engineered to support the weight of performers, and provided that your operators and performers operate the system as they are trained, the performers are actually safer when flying than they are driving to the theatre. All reputable flying companies have insurance, and your organization can be named as an additionally insured party on their insurance if you request it.
Shameless plug - If you want to learn more about flying effects, I host an annual four-day master class in Illinois called TOP Flight (for Technicians Operators & Performers - TOP). The 2017 master class begins next Wednesday, 8/2, so it may be a little late to attend this one. For 2018, we are thinking of having two - one near Atlanta and one near Chicago. The hands-on master class exposes you to how systems are designed, installed and maintained; harness choices and application; the basic physics of performer flight; how to tell a story using flying effects; and tips and tricks for better and safer rigging. I am a tenured professor and an ETCP Recognized Trainer, so this would likely count toward continuing education credits as well - end of shameless plug.
I am also pleased to say that the ESTA Technical Standards Program Rigging Working Group recently passed the
very first ANSI standard directly addressing performer flying effects. This is NOT a "how-to" document, nor is it a code of requirements. It is an industry standard that was created by our group of subject matter experts to establish reasonable minimum expectations for flying effects in the entertainment industry. I have a PDF copy of that standard - anyone wanting a copy, please contact me directly.
If you have more questions, feel free to contact me off-list, or we can continue to thread :-).
All my best!!
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Tracy Nunnally
NIU - Professor / TD / Head of Design Tech Area / Head of BA Theatre Studies
Vertigo - Owner / System Designer / Flying Director
ETCP Certified Rigger / Recognized Trainer
DeKalb, Illinois
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Original Message:
Sent: 07-24-2017 08:44
From: Marla Blasko
Subject: To Fly or NOT to Fly?
Thank you all for your input about flying Mary and suggestions for alternatives. I would NEVER attempt to put a harness on a student actor and DIY flying without a professional company. I am especially cautious of even using a professional because in local productions who hired the pros, two people (one crew member and one cast member different shows) on the ground were injured by the equipment. Both times it was adults injured who were trying to be helpful and got in the way of the flying and not the actor in the air. However, both injuries required stitches in the head - Scary!!!
Thanks so much for sharing the Peter Pan article. Cary - you are correct it does come down to "vision, finances, and safety." I am still struggling with all of this, but at least now I have some alternatives if I decide to go without the expense of hiring the pros. You all have given me a lot to think about... sigh... it would be so cool to see Mary fly up from the stage up to the light booth!
Thanks again!
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Marla Blasko
Theatre Arts Director
Columbia MD
Original Message:
Sent: 07-23-2017 08:11
From: Cary Rice
Subject: To Fly or NOT to Fly?
I have seen lighting and fog used effectively to have Mary Poppins enter down and exit up a ramp with her umbrella to create the illusion of flying, though one should make sure the fog doesn't create a slippery situation. It worked much better than I expected. The link above to the flying alternative for Pan is also intriguing and appears quite safe.
That said, if you do choose to truly fly, use a professional flying company, and then go all out. If your space allows, I would have Mary fly over the audience and include Bert's proscenium walk as noted above. If you've already invested the time (for safety and training) and the money, why limit yourself?
We used ZFX for flying Wizard of Oz this spring with responsible students as rope/flying operators (more about maturity and physical ability than age) and an adult as flying supervisor to check, double check, and triple check between rehearsals and performances, and between acts during peformances to address any issues, fortunately only minor ones for us. Allow enough flexibility/extra time in your rehearsal schedule for the training. It is a significant time commitment even for the flying operators (not just the actors flying), probably one of the reasons students are often used instead of adults. Also, make sure you have some volunteers who can help on load-in day. The flying director will take charge, but the rigging and fly system pieces can be heavy and can take a full day to install.
For Wizard, it was worth it for us. I always said I would never produce/direct the show without flying...after all, they are called "flying" monkeys, not hopping monkeys in a circle ;). Of course, it also allowed for Dorothy, Glinda, the Wicked Witch, and the Wizard to fly.
Additional incentives are that your ticket sales and audience response may increase. We averaged over 500 per show (four performances) and had to adjust the timing of our motion projection and acting cues after the opening performance to allow for audience applause after flying the tornado scene.
It comes down to your vision, finances, and safety. In the end, will you be able to produce the show you wish without flying?
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Cary Rice
Drama Director
Christian Academy of Louisville (KY)
Original Message:
Sent: 07-17-2017 11:17
From: Marla Blasko
Subject: To Fly or NOT to Fly?
I'm doing research for Mary Poppins next spring and am wondering if it is worth the expense and aggravation of trying to fly Ms. Poppins and maybe Bert. The idea really scares me from a safety perspective, and I would have to do some extra fundraising to cover the cost of flying. Here are my questions for those who have done this show:
1. Those who have not flown Mary, how have you solved the problem of her flying back with the kite?
2. Those who have flown - would you do it again? Did you have adults running the rigging or students?
3. What do you think the pros and cons are for flying in this show?
Thanks for your help!
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Marla Blasko
Theatre Arts Director
Columbia MD
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