Jamie Harrison is best known as the illusionist behind the spellbinding stage magic of “Harry Potter and the Cursed Child.” But, in co-directing the theatrical installation “Flight” now on view at Studio Theatre, his best trick may be one of unexpected prescience.

Harrison and “Flight” co-director Candice Edmunds, who together run the envelope-pushing Scottish theater company Vox Motus, first staged this actor-free production at the Edinburgh International Festival in 2017 and have since brought it to Melbourne, New York, Abu Dhabi and London. Yet “Flight,” as a story told through audio and 230 scrolling dioramas, partitions off each audience member in private booths that feel crafted for the coronavirus age. And playwright Oliver Emanuel’s heart-wrenching tale, of two sibling Afghan refugees on a harrowing journey to London, hits with renewed resonance following the United States’ tumultuous withdrawal from Afghanistan earlier this year.

“Flight” embarks from Studio Theatre’s recently renovated space, where on Saturday still-wrapped light fixtures hung from the ceiling and construction cones impeded the 14th Street entrance. Patrons are assigned to “boarding groups,” ushered to a socially distanced waiting area and tucked into three-foot-wide booths. The immersion begins the moment you pull on the provided headphones, as the ambient sounds of distant gunfire establish the horrors these refugees seek to flee.

Over the ensuing 45 minutes, “Flight” unfolds via miniature tableaus, displayed in boxes of varying depth and dimension that revolve and illuminate every few seconds — think radio play fused with three-dimensional graphic novel, or stop-motion animation presented in person. Adapted by Emanuel from former Reuters correspondent Caroline Brothers’s 2011 novel, “Hinterland,” the gripping narrative tracks Afghan teen Aryan (voiced by Farshid Rokey) and his wide-eyed younger brother, Kabir (Nalini Chetty), as they escape the Taliban and dream of being educated in the United Kingdom. Along the way, they utter the touchstones of their transcontinental odyssey like an incantation: “Kabul. Tehran. Istanbul. Athens. Rome. Paris. London.”

Designed by Rebecca Hamilton and Harrison, the hand-painted displays are dazzlingly intricate. “Flight” wields its medium as a ticket to the fantastical, imagining Athens as a cityscape of bending buildings and depicting the boys’ highflying dreams with a shift to striking 2-D artistry. Mark Melville’s pulsating, swelling score elevates the experience, as does his crisp sound design and Emun Elliott’s world-weary narration. The technical feat of synchronizing the audio and images (as impeccably lit by Simon Wilkinson) for each of the 25 booths is so seamless that I forgave the occasional need to shift and lean in my seat to properly see the tableaus.

Although Emanuel’s streamlined script cuts some corners, particularly when it comes to unpacking an upsetting moment of sexual violence, “Flight” potently portrays the trauma and tragedy refugees endure in hopes of obtaining the simple comforts many take for granted. The story also converts its magical realism into lyrical allegory and raises poignant questions about the nature of refugee identity.

Without that emotional investment, the artistic innovation would fall flat. Instead, an endeavor that unfolds on the smallest of scales manages to leave quite the outsize impression.

Flight by Vox Motus. Based on “Hinterland” by Caroline Brothers. Adapted by Oliver Emanuel. Directed by Jamie Harrison and Candice Edmunds. Design, Rebecca Hamilton and Harrison; music and sound, Mark Melville; lighting, Simon Wilkinson. Through March 6 at Studio Theatre, 1501 14th St NW. About 45 minutes. $42-$52. 202-332-3300. studiotheatre.org.