Overview of the production
Barbican and Bridge Theatre present Vox Motus’ Flight
Based on the novel Hinterland by Caroline Brothers
Adapted by Oliver Emanuel
From a private booth, you’ll be drawn in close to this tale of orphaned brothers and their desperate odyssey across Europe, the action unfolding in an exquisite world of miniatures moving before you.
With their small inheritance stitched into their clothes, young Aryan and Kabir set off on an epic journey by foot from Kabul to London. Braving bustling train stations, hazardous sea crossings, menacing strangers and threats of violence, their heart wrenching story speaks of terror, hope and survival. Based on Caroline Brothers’ novel Hinterland, Flight combines timely themes with engrossing images to honour the resilience of refugee children adrift in dangerous lands.
You’ll be seated alone and given headphones for this intimate experience staged by Candice Edmunds and Jamie Harrison (magic and illusion designer for Harry Potter and The Cursed Child). As richly detailed model sets and figures revolve to form gripping scenes, accompanied by enclosing sound and narration, the effect is of an astonishing 3-D graphic novel being unveiled.
We’re pleased to be supporting Young Roots, a London-based charity who work with young refugees to reach their potential. Find out more about how you can support the important work they do at youngroots.org.uk.
Original production commissioned by Edinburgh International Festival
Original image design by Owen Ulmer
"Miraculous"Sunday Times ★★★★
"Deeply important and innovative"The Stage ★★★★
Please note the foyer is closed for this production and the entrance is our Stage Door on Duchess Walk, SE1 2SD. The What3Words reference for this location is decks.quarrel.falls.
Our foyer cloakroom is currently closed. You may leave your coat and bag in the dedicated Flight waiting area before entering your booth, but please do not bring any larger bags or luggage. Please note that all personal items are left at the owner’s own risk.
Monday – Friday
14.30, 15.45, 16.50, 18.00, 19.10, 20.15 (plus added 12.15 and 13.20 showings from 31 May)
Saturday – Sunday
10.00, 11.10, 12.15, 13.20, 14.30, 15.45, 16.50, 18.00, 19.10, 20.15
Approx 70 minutes, no interval
Please arrive at least 10min before your timeslot
14+, those under 13 will not be admitted due to health and safety issues
Caroline Brothers is a writer who is interested in survival and displacement, in physical and metaphorical boundaries, and in how people cope in the aftermath of violence. Her award-winning first novel, Hinterland (Bloomsbury), dramatized by Vox Motus as Flight, grew out of her reporting into lone foreign children adrift across Europe; it was described by critics as ‘stark and unsentimental’, ‘visceral and moving’.
Her second novel, The Memory Stones, explores the search for the stolen children of Argentina’s disappeared. Caroline spent many years working as a correspondent in Europe and Latin America for Reuters and the International New York Times, reporting from Amsterdam, Belfast, Brussels, London, Mexico City and Paris, among others. She is the author of a nonfiction book, War and Photography, based on her doctoral research into the Spanish Civil War.
Born in Australia, she is still striving to rein in her nomadic existence, and now divides her time between Paris and London.
Oliverhas written for most of the major theatre companies in Scotland and his work has been seen across the UK, Ireland, Europe, Canada, USA and China.
He is currently under commission to the Traverse Theatre, the Unicorn Theatre and BBC Radio.
In 2020 Tiger is Out, an extract from I Am Tiger, directed by Lu Kemp and starring Ava Hickey, was broadcast on BBC as part of National Theatre of Scotland’s Scenes for Survival.
When The Pips Stop won the Tinniswood Award (2019); The Truth About Hawaii won BBC Audio Drama Award for Best Original Series or Serial (2019) & the ISNTD Festival AUDIO Award(2018); Flight won a Herald Angel as part of the Edinburgh International Festival 2017; Emile Zola: Blood, Sex & Money won the BBC Audio Drama Award for Best Adaptation 2017; Titus won People’s Choice Victor Award at IPAY (2015); Dragon won Best Show For Children and Young People at the UK Theatre Awards (2014); Daniel And Mary was nominated for a Sony Radio Academy Award for Best Drama (2010).
The Monstrous Heart, The 306: Dawn, The 306: Day,The 306: Dusk, The Day I Swapped My Dad For Two Goldfish, Flit (National Theatre of Scotland); Flight (Vox Motus); The Adventures Of Robin Hood, John, Ship Of Shadows (Visible Fictions); The Little Boy That Santa Claus Forgot, Titus (Macrobert); Dragon – Winner of the UK Theatre Awards 2014 ‘Best show for children and young people’ (National Theatre of Scotland / Tianjin People’s Arts Theatre, China); End Of The World (Red Note Ensemble); Random Objects Flying Through The Air (Royal Conservatoire of Scotland); Spirit Of Adventure, One Night In Iran, Videotape (Oran Mor); Henry And Ingrid (Tron Theatre); Magpie Park (West Yorkshire Playhouse); Man Across The Way, Bella & The Beautiful Knight, Iz (Silver Tongue Theatre)
Lanny (adapted from the novel by Max Porter), The Tenderness of Boys, When The Pips Stop, The Truth About Hawaii, Transformations, Emile Zola (Series 1-3); Blood, Take Me To Necropolis, Albion Street, The Spare Room, The Other One, 13 Minutes In Cairo, Ancient Greek, Songbirds, Everything, The Vanishing, Elvis In Prestwick (BBC Radio 4); One Night In Iran (BBC Radio 3); Daniel And Mary – Nominated for Best Drama at Sony Radio Academy Awards 2010 (BBC Radio Scotland)
Candice Edmunds graduated from the Royal Conservatoire of Scotland with a BA (Acting) in 2002. In 2003she founded the award-winning Vox Motus with Jamie Harrison. Their aim was to create innovative, visual contemporary theatre that would appeal to their non arts-based peers.
For Vox Motus Candice has co created and directed Flight, Dragon, The Infamous Brothers Davenport, Slick, The Not-So-Fatal Death of Grandpa Fredo, Bright Black and How to Steal a Diamond.
Their productions have toured the UK, USA, Australia, Middle East, Germany and China. They have been nominated for and won numerous awards, including a Herald Angel for Flight and the UK Theatre Award for Best Production for Children and Young People for Dragon.
Candice also works as a director and dramaturge for theatre and dance. Credits include Carmen (Oper Wuppertal), her critically acclaimed adaptation Dance of Death in association with The Citizens’ Theatre Glasgow and the world premiere of Yuri Klavdiev’s Thoughts Spoken Aloud from Above.
For Barrowland Ballet Candice has worked as dramaturge on Whiteout, Wolves, The River (for the Glasgow Commonwealth Games Cultural Program) and A Conversation With Carmel.
Candice has taken part in cultural networking and exchanges around the world as both a representative of Vox Motus and of Scottish theatre and has been a mentor on the Federation of Scottish Theatres’ Step Up program.
She has delivered master-classes and practice-based talks to universities, conservatoires, colleges and national organisations and agencies
Jamie Harrison is co-artistic director of Vox Motus and has co-created, co-directed, and designed all of the company’s work, most recently Flight with Edinburgh International Festival, and Dragon with National Theatre Scotland and Tianjin People’s Theatre, China. He has also established himself as one of the world’s leading theatrical magic and illusion designers. Other recent theatre projects include set and illusion design for Mozart’s The Magic Flute for Ex Machina/Quebec Opera Festival directed by Robert Lepage; magic and illusion design for The Ocean at the End of the Lane at the National Theatre; and Pinocchio at the National Theatre (with Disney Theatrical Productions). He created the magic and illusions for the multiple Olivier and Tony award-winning production Harry Potter and the Cursed Child directed by John Tiffany, for Sonia Friedman Productions/Colin Callender in London’s West End, on Broadway, in San Francisco, Melbourne and Hamburg. He also designed the puppets and illusions for Charlie and the Chocolate Factory
directed by Sam Mendes, for Warner Brothers/Neal Street Productions at the Theatre Royal Drury Lane, London. Jamie Harrison’s recent awards for Vox Motus include the UK Theatre Awards Best Production for Children and Young People for Dragon; Critics’ Awards for Theatre Scotland Best Design for Flight; Herald Angel for Flight and New York Times Theatre moments of 2018 for Flight. His international awards include a special citation from the New York Drama Critics’ Circle and the
San Francisco Bay Area Theatre Critics’ Circle ‘Excellence in a Theatre Specialism’ Award. In 2017 he was the recipient of the Edinburgh International Magic Festival’s Great Lafayette Award for outstanding contribution to stage magic. He is currently co-directing and set designing a project for Michael Harrison Productions and Disney Theatrical Productions and developing a new idea for a novel theatrical experience for Vox Motus. Jamie Harrison trained as an actor at the Royal Conservatoire of Scotland (2002).
Rebecca trained at the Royal Conservatoire of Scotland (2006) where she specialised in set and costume design and scenic painting. She works as a freelance designer, model maker and scenic artist across theatre, film and television.
Other design credits include: My Left/Right Foot – National Theatre of Scotland/ Birds of Paradise Theatre Company, Hobo Cinema – Rogue Village, Beyond the Lake – Rising
Dawn Pictures, The Time Machine – The Scientific Romance Theatre Company, Bunny – Hopscotch Films, MagicFest Gala – Edinburgh International Magic Festival, Tin Forest – National Theatre of Scotland, The Inescapable Arrival of Lazlo Petushki – Outland/Hidden Tiger Productions, Station Stories – Cryptic, In Time O’ Strife – National Theatre of Scotland.
Mark Melville is a composer and sound designer for theatre and film and studied at
Leeds Conservatoire. His music and sound design work has been presented across
the UK and internationally and exhibited at the V&A Museum, Prague Quadrennial
and British Design For Performance festival.
Recent projects include: Byker Audio Stories (Northern Stage); When The World Is
Loud (Mortal Fools); The Metamorphosis (Vanishing Point/Tron/Emilia Romagna
Teatro, Italy); A Little Space (Gecko/Mind The Gap); The Panopticon (National
Theatre of Scotland); The Storm (M6 Theatre); The Greatest Play in the History of
the World… (Tara Finney Productions/Royal Exchange/West End transfer); Guards
at the Taj, The Children (Theatre by the Lake); Frankenstein, Wit, Birth! (Royal
Exchange); Human Animals; Violence and Son; God Bless the Child (Royal Court);
1984 (Emilia Romagna Teatro); Yer Granny, Knives in Hens, Miracle Man, Empty, My Shrinking Life (National Theatre of Scotland); Tomorrow (Vanishing Point/Cena
Contemporânea Festival, Brazil/Brighton Festival/Tramway); Dragon (Vox Motus/
National Theatre of Scotland/Tianjin People’s Art Theatre, China); Where Do We
Belong?, Where Do We Stand? (Northern Stage); Little Gift (M6 Theatre/
AndyManley); Road (Leeds Playhouse); The Manchester Project (Monkeywood
Theatre/HOME); The Destroyed Room, Saturday Night, The Beggar’s Opera
(Vanishing Point); Charlie Sonata (Royal Lyceum Theatre); Wonderland (Vanishing
Point/Napoli Teatro Festival Italia/Tramway/Edinburgh International Festival).
Mark is also a member of the Association of Sound Designers.
Simon’s previous work with Vox Motus includes Flight (worldwide, including Edinburgh International Festival, New York, Melbourne, Abu Dhabi), Dragon (Edinburgh International Festival), The Infamous Brothers Davenport, The Not-So-Fatal-Death of Grandpa Fredo, Bright Black and Slick. For Candice Edmunds, Simon designed the lighting for Dance of Death at the Citizens Theatre and, with Jamie Harrison as set designer, he lit Robert Lepage and Ex Machina’s production of The Magic Flute.
Work for the National Theatre of Scotland includes The Panopticon, Interference, The 306: Dawn, Dragon, The Day I Swapped My Dad for Two Goldfish & Roman Bridge. Other recent theatre designs include Metamorphosis and The Dark Carnival (Vanishing Point); The Season (Royal & Derngate); Islander (Helen Milne Productions); Glory on Earth, The Iliad, The Weir, The Lion the Witch and The Wardrobe, Hedda Gabler, The Caucasian Chalk Circle, The BFG, Bondagers and A Christmas Carol (Royal Lyceum); Crocodile Fever, Meet Me at Dawn, Letters to Morrissey, Black Beauty, Grain in the Blood and Tracks of the Winter Bear (Traverse Theatre); Ragnarok, Fisk, The Lost Things and Feral (Tortoise in a Nutshell); Tay Bridge and Kora (Dundee Rep); Knives in Hens (Perth Theatre); Crumbles Search for Christmas (West Yorkshire Playhouse); God of Carnage (Tron Theatre); Lost in Music, Our Fathers, Sex and God, Pass the Spoon, Wild Life and After Mary Rose (Magnetic North)
Simon has won the Critics Award for Theatre in Scotland for Best Design three times – for Flight in 2018, Black Beauty in 2017 and Bondagers in 2015. His lighting has created a Guinness World Record, brought 30,000 people to a windswept Highland Forest, and caused reports of an alien invasion.
With a foundation in fine art, Sav Scatola is a freelance illustrator with over 20 years’ experience. His work spans digital illustration, 3D product renders, product advertising, concept art, asset creation, book illustrations and good old-fashioned paintings.
Recent design credits include Spring Awakening, Chess, Cabaret, West Side Story
(Royal Conservatoire of Scotland), The Cook, The Thief, His Wife & Her Lover
(Faena Miami / Unigram), Oor Wullie, The Yellow On The Broom, The
Maids (Dundee Rep), The Metamorphosis (Vanishing Point), The Dark Carnival
(Vanishing Point/Citizens Theatre) (Nominated: Best Design, Critics
Award for Theatre Scotland, 2019), Money Makes The World Go Round, Echoes
In The Night, The Outsider (Carnival/Cunard), The Return, Not About Heroes
(Eden Court Theatre), Bright Young Things, Time & Motion (National Youth
Ballet) Rapunzel, Chick Whittington (MacRobert Arts Centre) Kes (Perth
Associate Design work includes Flight (Vox Motus/Edinburgh International
Kenneth is a graduate of the Royal Conservatoire of Scotland and The California
Institute Of The Arts. www.kenneth-macleod.com