Flight is the symbol of freedom. It is, in some ways, the ultimate metaphor for life. In our world we are encouraged to get on a plane and go. Go overseas and get an education, have an experience, a holiday, escape from family or a fly back into their arms.
But what if you belong to that vast world population who cannot move freely around the world? For whom flight can only ever be a dream?
In Julian Lanarch’s Flight Paths, a man falls from the sky. And thus a girl who has endured a long flight to arrive at her Oxford education and another girl who flown into the greatest slum in the world in Africa become intricately connected. An intriguing script becomes an engaging performance under the sure guiding hand of director Anthea Williams. There is much under discussion here – politics, charity, connectedness, family, friends, intent, passion are all explored in this coming-of-age play. The content is serious, much the matter is treated sympathetically and with moments of gentle humour.
But whilst the play touches on many, varied issues it is still at heart, a play of young people discovering the world for the first time and having to come to terms with it. Luisa (played with deep sincerity by Ebony Vagulans) refuses to be disillusioned by the challenges of her journey whilst Emily’s increasing disenchantment is charted in a finessed way by Airlie Dodds. However, this is very much an ensemble effort and Richie Morris (Adhama), Monica Kumar (Anika), Aileen Huynh (Charlie) all deserve recognition for their beautifully delineated roles. Brandon McClelland as both Tom and Max brings a solid, skilled grounding to the show.
All performances were strong, although at times some dialogue was a little difficult to hear. Staging in a pleasing winged-pattern traverse meant the flow of entrance and exit, like flying, was smooth. Working a traverse stage is tricky, however , and more vocal projection is necessary to overcome the inevitability of presenting backs to half the audience. On opening night the pace was somewhat the same throughout. The subtle shifts in pace will come with another performance or two I am sure.
Verity Hampton’s lighting design was, to use an inadequate word, brilliant. Managing to evoke not only airport runways but also the hot African sun and cooler summer sun of Oxford, it comprehensively set the mood and engaged the audience. My companion was so impressed they took photos to show students; which is probably an infringement of copyright! Let us consider it more as publicity from an impressed patron. Likewise, the 
sound design by Michael Toisuta placed us firmly in location. These two design elements worked seamlessly together to create both mood and locale.
Flight Paths is a new work by a local writer and talented director, and a salutary lesson on what we can be doing in theatre if we want to. Rather than regurgitations of tired work, being done for the umpteenth time (box office?) we can rise to the challenge of presenting fresh work in meaningful, exciting ways. The National Theatre of Parramatta are doing this and deserve support. We have our own stories to tell. Go see. Fly first class for once.
Kate Stratford – Theatre Now & On The Town
Flight Paths
Julian Larnach
16 – 24 March 2018
Friday 16 March at 7.30pm
Saturday 17 March at 7.30pm (Opening Night)
Wednesday 21 March at 7.30pm
Thursday 22 March at 6.30pm
Friday 23 March at 7.30pm
Saturday 24 March at 2.15pm and 7.30pm
Venue: Riverside: Lennox
Theatre Company: National Theatre of Parramatta
Duration: 90 Minutes no interval
