Review: FLIGHT Soars at Concordia University's Robert Tegler Hall

Iranian refugee, Mehran Karimi Nasseri, lived in Paris’s Charles de Gaulle airport for an astonishing 18 years. After fleeing his native country in the wake of his dangerous political activism, Nasseri safely arrived in France only for his suitcase containing his I.D. and passport to be stolen. Rather than risk arrest and deportation by entering Paris, he chose the precarious shelter of one of the world’s busiest airports. 

Jonathan Dove’s 1988 opera, FLIGHT, re-imagines Nasseri’s unthinkable circumstances and intertwines them with the plights of fictional airline passengers. In Nuova Vocal Arts’ ambitious production, countertenor, Michael Shoaf, takes on the daunting role inspired by Nasseri. Aptly referred to as The Refugee, the character dozes among the terminals’ stiff seats and charms initially annoyed passengers into giving him money for food. Shoaf is both humorous and heartbreaking in the role. He showcases rich, expressive vocals and often animated facial expressions that further amplify the character’s emotions. 

Spanning a tumultuous afternoon and evening, the production also features several other larger-than-life characters. Two different couples arrive for two consecutive flights and a glamorous middle-aged divorcee anxiously awaits the arrival of her much younger fiancé's plane. Two airport staff members make no effort to disguise their romantic relationship while a formidable immigration officer periodically walks by, sending The Refugee scrambling for a hiding place. All the while, the lively offstage orchestra accompanies the outstanding cast. 

The eccentric characters include three different couples: the Portugal-bound Bill and Tina (Graeme Linton and Sabrina Di Battista), the unnamed soon-to-be expats and expectant parents (Ashley Schneberger and Gabriel Klassen), and overly amorous flight attendants (played by Christian Matta and Charlotte Forknall). Joining them is the pining unnamed divorcee (Simone Lemieux) and the Controller (Ella Jonas Farlinger), an angelic-voiced figment of The Refugee’s imagination and his only constant companion. The agitated travellers' antics are endlessly entertaining and the dynamic between The Refugee and Controller infuses the show with further poignancy.

FLIGHT’s unusual premise calls for an unconventional performance space, and Concordia University’s Robert Tegler Hall is just that. Instead of an auditorium, the production takes place on the building’s first floor. The makeshift stage area features stiff banks of airport chairs, a sign-in-desk, and a giant screen listing departures and arrivals. The audience sits in rows of chairs facing the stage and in tiered seats at the back of the room, creating director, Kim Mattice Wanat’s, desired effect of replicating an airport terminal. 

This humorous, heartfelt production defies the age-old stereotypes of what opera is. Its modern setting and comedy render it the perfect gateway to the traditionally upper-crust art form and will appeal to adults of all ages. FLIGHT is a truly world-class production that will linger with audiences for a long time. 

The show’s final boarding call is on June 18.  

Photo Credit: Nuova Vocal Arts 

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