Remember Tom Hanks as Viktor Navorsky in Steven Spielberg’s The Terminal (2004), stranded for months in Arrivals at JFK, forbidden to enter the United States and barred from returning home by a geopolitical Catch-22? Based on the same true history of the Iranian refugee Mehran Karimi Nasseri, marooned at Charles de Gaulle Airport, Paris, for a mind-bending 18 years, Jonathan Dove’s opera Flight landed six years before the movie. An instant hit, it has proved remarkably durable. Just now, against the backdrop of flights grounded by the thousands, Dove’s comedy takes on more existential shadings than ever, even as the countertenor character that Dove calls the Refugee morphs alarmingly into Everyman. In Dallas, that pivotal role belongs to the Black phenomenon John Holiday, who spent his pandemic furlough from opera advancing to the finals on “The Voice” under the wing of John Legend. In other luxury casting, Deanne Meek appears as the Older Woman and Abigail Rethwisch as the Controller. —Matthew Gurewitsch