‘Gary’ + ‘Rocket Number 9’ // Brisbane Sci-Fi Theatre Festival
‘Gary’ was inventive. ‘Rocket Number 9’ was fierce.
Embarking on another explorative adventure to Brisbane’s Sci-Fi Theatre Festival, audiences were treated to a double bill of new works, showcased by emerging and local performing artists. Presented as an evening of two one-act shows and hosted in the Norman Price Theatre, ‘Gary’ and ‘Rocket Number 9’ had plenty of space fiction and fantasy for fans to revel in.
Commencing the night of fun, ‘Gary’, a cosmic cabaret starring Peter Wood and Josh Lyons, told the story of a galactic gas who had a message for all us Earthlings. Celebrating human existence through his own lack of existence, the comedy-duo performed a range of original tunes that had toes tapping and laughs aplenty.
The staging was incredibly simple – with a keyboard, guitar, ukelele and a box full of wonders. Lighting was vibrant and colourful and pumped along to match the beats of the musical team. Within the performance, there were songs about ‘Gary’ himself, his love for an avocado named Larry and tales of his time venturing across our galaxy. It was absurdly imaginative and ridiculous in all the right ways. Especially when nutritious fruit was destroyed for all to see.
The friendship between Wood’s and Lyons was incredibly evident, as they had complete synergy throughout their act; finishing each other’s sentences, covering each other’s musical mistakes and bouncing off each other’s electric presence. One of the standout elements in their script of ‘Gary’ was their ability to socially commentate on issues prevalent in society today – from house prices and the age-old stereotype of millennials prioritising avocados to climate change and serious sustainable environment topics.
Even though the act started larger than life in a completely flamboyant and comical way, the whole show came full circle, with a disguised take-home message that impacted one’s thoughts on where human existence is actually heading. ‘Gary’ was an intricate and clever feat that easily left thoughts replaying for an ultimate lasting impression. Not to mention, tunes were so catchy that they easily stuck to the brain days later.
After a small changeover, which saw instruments removed and replaced with small stools, a glowing orb, and a side table with a radio, audiences prepared themselves for the stylistic choreography of ‘Rocket Number 9’, written by Patrick Mua and presented by Labeijn Productions. This chic performance told the story of five alien sisters, from the planet Venus, whose sole purpose is to generate electricity by dancing. When their daily routine is interrupted by their friendly neighbour, things go dark and the sisters have to find a way to get things back on track.
Filled with many pop-culture references, a glorious soundtrack of banging tracks and a cast who had immense dancing capabilities, ‘Rocket Number 9’ allowed for self-expression and was really a collection of dance numbers, wrapped in a sci-fi storyline. The choreography by a cast of lively female dancers interjected conversations and plot points between a computer (voiced by Mua himself) and a humble neighbour who only wants to make new friends (played by Matthew Homer).
As a dance group, the female cast – which included Geena Schwartz, Sharnee Tones, Jess Hirning, Caitlin Hill and Tiahnee Solien-Bowles – performed completely without dialogue and relied solely on facial expressions and exaggerated movements to tell their sides of the story. Their unity when performing as one was very well portrayed. Despite all having individual quirks, they dressed similarly in white A-frame dresses, hot pink gloves, glittered makeup and space bun hair. They vogued, tutted and cat-walked in sync and with style.
The composition of the great beats and dynamic dances left the audience gagging for more. Unfortunately, the inconsistent sound levels made it hard to understand the storyline over the effects or hear Mua as the computer. At points, the audience was left wondering what was happening but nevertheless entertained by the punchy routines. On the back wall of the stage, the projected faces of the computer, although comical and apt, could have been brightened, as what was meant to be a recognisable device was sometimes lost under the heavy purple stage wash.
Within ‘Rocket Number 9’ there were so many ‘drag-race’ elements that easily made the show standout. Featuring strong female roles and current slang, Mua’s ability to cultivate an on-trend, fresh and enigmatic script is a delight to see. He has the ability to bring the house down with his mix of verbal sassy satire, polished dance routines (which featured some good ol’ death drops) and a great choice in music. If you’ve seen some of his past works, it’s a style you’ll come to expect and easily love if you’re up to date with drag culture. If you see his work on the regular, you’ll easily want a link to his Spotify playlists.
Overall, the pace of ‘Rocket Number 9’ never faltered. The mixture of dance, acting, and miming was enjoyable, fierce and a great addition to the festival.
Supporting local performers in this industry is an absolute must. The Brisbane Sci-Fi Festival presented another evening of great work by very talented performers, directors, and writers. It would be worth noting what these individuals do next, in their future creative careers.
The Brisbane Sci-Fi Theatre Festival is an annual event, which debuted from 11-14 April 2019. For more information about 2020’s festival, visit https://www.scifitheatrefest.com/.
