Flight

State Opera have made a bold but welcome move in selecting the 1998 Jonathan Dove operatic comedy Flight, a modern-day opera with over 150 performances across the world to date.

With a libretto by British playwright April de Angelis, Flight carefully balances comedic sections with dramatic as it tells the story of a refugee who is marooned and lives in an airport. Inspired by the true-life story of an Iranian refugee who lived at Charles de Gaulle Airport, Paris, for 18 years, the opera highlights the lives of different characters who find themselves delayed in the terminal.

​ The three-act opera covers two days and a long night in an airport. At dawn, the terminal is empty apart from a refugee who has been there, illegally, for some time. He possesses a stone which he claims to have magic powers to provide comfort. Various people arrive, passengers and crew; the tensions in their lives and their reasons for travelling are the basis for the story.

The refugee gives them each a stone that turns out not to be magic after all. The women gradually get drunk, and their conversation becomes less controlled until they discover they have all been given ‘magic’ stones. By dawn, the weather is a lot calmer, and flights resume. The passengers and crew go their different ways after laying bare their private lives and aspirations.

Written for an ensemble cast of 10 singers, and non-singing actors, this opera, with its unique airport setting that is designed in the shape of a hangar and scintillating orchestral writing (including the magnificent aeroplane take-off), Flight is a glimpse into the lives of real people who share a common misfortune (the delayed take-off), and perhaps have lessons to teach each other.

Stephen Barlow’s direction makes full use of Andrew Riley’s lofty set complete with two elevators and departure doors, and towering above the rank and file is a balcony which is the domain of the controller, a ‘big brother’ (or sister) directing the action below.

Barlow’s direction is tight with just the right amount of comedy to break the tension. The emotional moments are heartfelt as is the plight of the refugee. He creates ‘pictures’ to highlight the opera’s important statements. His direction is enhanced by Richard Howell’s sensitive lighting and Jack Henry James Fox’s projection designs.

The music is exquisite. Charlotte Corderoy conducts the Adelaide Symphony Orchestra with passion and flair. Occasionally in Act 1 some of the singers were overpowered by the orchestra, but this settled in the other acts.

The cast are impressive, led by countertenor James Laing as the Refugee. Laing is rarely off stage and gives an impressive performance, particularly with the Controller who he can only communicate with from the stage level.

Anna Voshege’s Controller is seemingly icy but human when she descends to the stage level, rather like Puccini’s Turandot. Her last scene with the Refugee is heart breaking.

Ashlyn Tymms’ Stewardess and Samuel Dale Johnson’s Steward are the staff frantically trying to keep the flights running. They provide a large proportion of the comedy, particularly Dale Johnson’s simulated sex scene with a male passenger. I loved their false smiles when dealing with customers, something we have all experienced.

Cherie Boogaart’s older woman (or should I say, cougar) is a delight. With a rich mezzo voice, Boogaart never disappoints and nails every laugh and draws a few tears as well.

Nina Korbe’s Tina and Henry Choos’ Bill are a couple whose marriage is under strain and are holidaying to rekindle their relationship. Korbe and Choo’s voices blend perfectly, and their comic timing is precise.

Jeremy Tatchells’ Minksman and Fiona McArdle’s Minskwoman are marvellous as the pregnant couple torn apart by the Minkswoman’s fear of flying and her advanced pregnancy. (Her husband initially leaves her behind only to return for her in the last act). Tatchell’s baritone and McArdle’s Mezzo are a perfect match, and their scenes together are a joy. McArdle’s ‘birth’ scene is well managed.

Teddy Tahu Rhodes’ Immigration Officer looks so real I had to blink twice to ensure it was indeed Rhodes! (once he sang, I was reassured) Although not a large role, Rhodes makes it his own with his liquid velvet voice.

It would not be a crowded airport without the non-singing actors (Arran Beattie, Patrick Greham, Samuel Lau, Eddie Morrison, Juanita Navas-Nguyen, Michelle Nightingale, Clinton Nitschke, Katie O’Reilly, Joshua Talbot-Smith and Alexandra Woolson), who add extra dimension to Acts 1 and 3 playing many roles.

On a side note, I particularly enjoyed the ‘inflight’ messages on the surtitle displays that enriched the Flight experience!

Flight is an opera for today and today’s audiences. It has a little of everything, comedy, pathos and more than a touch of humanity, Bravo State Opera South Australia!

Barry Hill OAM

Photographer: Andrew Beveridge