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RONEN ZILBERMAN / RZILBERMAN@STARBULLETIN.COM
Chip Christensen, flying director, gives stage flying directions to, from left, Elizabeth Harrison (Peter Pan), Kristina Sault (Wendy), Tx Tario (Michael) and Justin Hashimoto (John).
Flying by Foy lifts
‘Peter Pan’
The actor flies through the air -- soaring, diving, floating. If you think it's due Tinker Bell's magic fairy dust, you're living in Never-Never Land -- unless the tiny fairy works for the Las Vegas-based Flying By Foy.
The family-owned business has been hoisting stars for more than a half century, earning a worldwide reputation for technical excellence and creative artistry. They're the behind-the-scenes aerialist experts who have rigged the upcoming Diamond Head Theatre production of "Peter Pan."
'Peter Pan'
Where: Diamond Head Theatre, 520 Makapuu Ave.When: 8 p.m. today, tomorrow and Thursday, and 4 p.m. Sunday. Schedule repeats through Dec. 21
Tickets: $12, $22, $32 and $42
Call: 733-0274
"Can't do 'Peter Pan' without Flying by Foy," said John Rampage, the theater's artistic director.
The Hawaii shows will have six actors "flying," whose flight paths are controlled by a recently trained local crew. The Peter Pan character, played by Elizabeth Harrison, requires two operators: one for height, the other for flight.
The actors will use single-wire harnesses for the several scenes involving flying in and out of the Darling nursery, to and from Never-Never Land and in the battle with pirates.
But if you want to see a photo of the legendary Foy harnesses, you're out of luck.
"No pictures, and I won't give you precise descriptions, because they're all top secret," said Chip Christensen, the flying director Foy sent for the Diamond Head production. "So many people copy what we do. And we try to keep the illusion of magic to a certain degree."
Foy's inventions and flying techniques are so unique the company has protected them by copyright. Before working with Foy, clients must sign agreements pledging not to divulge any of the firm's secrets.
Here's what Christensen will say about the harnesses -- the company uses cast members' weights and measurements and the dimensions of the theater space to determine the type of harness and rigging.
"Harnesses are basic, leather and canvas with webbing that fits around the body," including over the shoulders and between the legs," Christensen said. "It's not comfortable but not painful. Wearing one is more comfortable in the air than on the ground because they're built for flying, not walking around in."
"Peter Pan" will use six unisex harnesses designed for the actors. The wires are aircraft cable with a 1,200-pound load capacity and Foy engineers apply a black covering to make them all but disappear.
"The single wire harnesses are pretty much the same that Mary Martin and Cathy Rigby wore when they were Peter Pan," Christensen said.
Peter Foy flew the first Broadway Peter Pan, Jean Arthur, in 1950, then went on to do the musical versions featuring Martin (1954), Sandy Duncan (1979) and Rigby (1990). The soaring aerial choreography of Martin's Peter not only thrilled audiences, it began a new era in stage flying and set the standard for the industry.
SURPRISINGLY, few actors have "stage flight fright."
"The first time out I get them up high and I operate the controls," he said. "I teach them stage positioning and aerial choreography."
Deciding to add flight to a production is not a do-it-yourself job. A box of pulleys doesn't arrive in the mail with an instruction sheet.
"When the equipment goes out, a technician comes along -- always," Christensen said. "We always go to supervise the equipment installation, and work with the cast and crew to stage the sequence" whether it's ballet companies, opera or anything."
"Size is not an issue for us," he said. "We flew Chris Farley on 'Saturday NIght Live' and in 'Beverly Hills Ninja.'
"We've never had a major accident, though occasionally Peter Pan flies into something."
Interestingly, the only safety device is the operator.
"If he lets go, well, boom goes the actor," Christensen said. "Any mishap has been operator error; the equipment doesn't fail."
The company doesn't hesitate to turn down a job it deems too dangerous.
"Sometimes the venues are not accessible to our riggings," he said. "In other cases. it's a height consideration."
Foy has backed out of a couple of big shows, including the Super Bowl, because the production was unwilling to provide necessary information. He's also turned down the "American Gladiator" television show because producers wanted the contestants to fight in the air.
"The company believed there was a probability of harm," Christensen said.
The goal, of course, is to ensure that performers look like they're flying as opposed to "gymnasts being flung around."
"We did the Backstreet Boys tour, where we built five automated riggings that ran with the show," he explained. "The system was automated -- state-of-the-art when we built them.
"We even helped Michael Jordan to fly higher."
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