Over the years, Darkfield have established themselves as the kings of binaural audio experiences. The formula is always the same: shut headphone-wearing audience members in a shipping container, then turn out all the lights. Absolute terror often follows. Yet with their newest show, Flight, there is a somewhat different formula. Light features throughout the show, the seats move, and it looks like you are on a commercial plane. Perhaps Darkfield’s most ambitious project to date? It’s a shame it’s also their weakest.
The show takes audiences on a plane journey, presenting two possible outcomes to their journey whilst exploring the concept of multiple worlds. The fundamental issue with Flight is that it doesn’t know what it is. Whilst large sections feel like a high-tech plane simulator, including overwhelming explosion sound effects and 4DX-style seat movement, the inclusion of quantum mechanics and Schrödinger’s cat is absurd. It is as if Darkfield remembered that they must maintain a ‘high-brow’ element to their productions. This toing and froing from discussion of alternative realities to intense visceral crashing prevents the build-up of any momentum. There is the perpetual feeling that the show is about to begin, but it never does. Undeniably weak dramaturgy.
Where the production does deserve immense credit is in its design. The binaural audio is so incredibly detailed that it becomes progressively challenging to remember that you are not, in fact, flying EasyJet 30,000 feet above the ground. Babies scream around you, the entire floor vibrates when taking off, and the pilot is often heard through the intercom. When people whisper in your ear, you find yourself physically recoiling, such is the believability of the sound. Likewise, the space is impressively furnished to almost exactly replicate a commercial airline, down to the safety card placed in front of you. Such thorough design work by George Tomlinson, especially for a show that mostly takes place in complete darkness.
This is certainly not a show for nervous flyers. Yet, whilst audiences will be undeniably affected by the painful noise and shaking seats, Darkfield have failed to decide whether this is Alton Towers or the National Theatre. The result is a confusing mix of both, a show that certainly doesn’t crash, but fails to reach the heights of the company’s previous offerings.
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