Airports have always been a testing ground of human spirit, emotion and patience. Today, while they’re a kind of frenetic purgatory, jammed with an array of features aimed to lessen the stress of travel, it would seem that they’ll never extinguish that unique juncture of transition and hope.
It’s an idea that’s effectively propelled in English composer Jonathan Dove and librettist April de Angelis’s three-act work, Flight – considered the most popular modern opera of the last 80 years and premiering at Glyndebourne Festival Opera in 1998.
To Adelaide’s fortune, under Dane Lam’s refreshing first season as State Opera of South Australia’s Artistic Director, all its charms and turbulence are realised with a sensational cast, bristling music and insightful direction by London-based Australian Stephen Barlow. The production originated at Opera Holland Park in 2015 and was reimagined by Scottish Opera in 2018.
Loosely inspired by Iranian refugee Mehran Karimi Nasseri’s life in limbo at Terminal 1 of Charles de Gaulle Airport in Paris for an incredible 18 years – many will be familiar with the story via Tom Hanks’ starring role in the 2004 film The Terminal – Flight is a modern tale that prods our inquiry into how we respond to disruption and the strangers in our midst.
It’s also a modern-day parable of sorts, barracking for faith in each other and hope for a brighter future in our relationships.
There’s the couple, Tina and Bill, armed with a self-help book hoping to restore their marriage. A heavily pregnant woman is tentative about accompanying her diplomat husband on a trip to a new life in Minsk. A 52 year Older Woman is anxiously waiting for the 22 year old toy boy she met while holidaying and a there’s little attempt by the horny Steward and Stewardess to hide their lusty affair.
As mostly observers of the action, the Controller watches and informs from above, divine-like, in communion with the Refugee who is struggling with his statelessness while avoiding the Immigration Officer.
When a storm surges and all flights are cancelled, emotional and behavioural tumult descend. While private lives are publicly shared, the mysteriousness of the situation is leveraged by the magic stones the Refugee discreetly passes out, as if to market hope. His actions, however, backfire, leaving the terminal strewn with a messy aftermath that eventually clears in sync with clearing skies the following day.
Barlow infuses the comings and goings with a keenly crafted pace as well as expertly balancing often quickly see-sawing comic and serious moments required of the ensemble cast of 10 singers and 10 actors to create the aura of airport drama.
Designer Andrew Riley’s slick set features a lofty and lit background arch evoking the spatial form of a retro aircraft hangar with a cantilevered glass platform from which the Controller presides. Within the arch, banks of elevator doors provide speedy entrances and exits – as well as little settings for the Steward and Stewardess’ sexual pleasures.
Gate lounge chairs, the Tri-Star Airlines desk, a mounted departures board and an airline trolley all contribute to the airport experience, as does Richard Howell’s nuanced lighting and Jack Henry James’ projection designs that include an atmospheric rainswept arched wall.
Dove’s music is rich in melody and accessibility, invigorating the drama with influences harking back to the likes of Rossini pitter patter in an Act 1 highlight of a playful holiday-mode sextet.
The snappy rhythms of Bernstein, the contemporary minimalism of Glass and Latin-American vibes also emanate in Dove’s own unique and seamless blend. And opportunities for percussion to shine are numerous, notably for xylophone.
At Thursday’s opening night, the score pulsated magnificently under the attentive command of conductor Charlotte Corderoy and Adelaide Symphony Orchestra played faultlessly – the orchestral backing to roaring ensemble singing for a flight taking off in Act 1 was particularly exciting.
And, how the ensemble impressed! English counter-tenor James Laing embodies the Refugee with sympathetic warmth and humanity, his voice coated with much sincerity and strength.
It’s a role Laing understands well, having performed it on numerous occasions, and it’s most evidently on show in the final act when the Refugee retells the aching story of escape with his brother in an aircraft’s wheel housing. Laing captures the horror and pain remarkably.
Australian coloratura soprano Anna Voshege adds extraordinary power to the Controller’s stiff posturing and officious veneer, soaring over any orchestral bursts and slicing the air with the greatest purity of tone.
Mellifluous soprano Nina Korbe and robust tenor Henry Choo are suitably matched as couple Tina and Bill, Korbe giving a smashing performance in her tremendous vocal rage against the Refugee when learning there’s nothing magic about the stone she is given.
Lush mezzo soprano Cherie Boogaart is an entertaining delight as the Older Woman waiting for her boy. Fiona McArdle is an imposing presence as the mentally fragile and pregnant Minskwoman, singing the fears of having a baby in an Act 2 aria of immense feeling – another highlight.
Baritone Jeremy Tatchell is a perfect complement as her diplomat husband and, finally having something to sing about in the third act, acclaimed Australian veteran of the stage Teddy Tahu Rhodes nails the authoritative demands as the Immigration Officer.
But, often stealing the night, no one is likely to forget the false smiles and hospitality, the total unprofessionalism and various coital positions mixed with helpings of comic energy that brilliant baritone Samuel Dale Johnson and rich soprano Ashlyn Tymms bring to the Steward and Stewardess.
With just the right balance under its wings to both entertain and unpack, a boarding pass to Flight is highly recommended. The next time you find yourself at an airport gate lounge, spare a thought for the stranger alongside you.
Flight
Her Majesty’s Theatre, 58 Grote Street, Adelaide
Performance: Thursday 8 May 2025
Season continues to 10 May 2025
Information and Bookings: www.stateopera.com.au
Images: The cast of Flight (SOSA 2025) – photo by Andrew Beveridge | The cast of Flight (SOSA 2025) – photo by Andrew Beveridge | SOSA Cherie Boogaart and James Laing in Flight (SOSA 2025) – photo by Andrew Beveridge
Review: Paul Selar