We’ve come a long way since Apollo 13: Mission Control was the BATS/STAB commission in 2008. It was revived at Downstage in early 2010, returned at the end of that year and, as Wiki attests, it was also launched in Australia and the USA.

That show recreated the drama of the 1970 Moon mission where an oxygen tank exploded on board – “Houston, we have a problem” – and the astronauts had to be bought back to earth. Audience members (who wanted to get hands-on) were assigned roles in Mission Control, at consoles that were necessarily retro in their technologically. Not least because we also tuned into the astronauts on board and their loved ones at home, bringing them home felt very real.

I especially remember the whole cast leaving for a management meeting. After a long pause, a phone started to ring on a commander’s desk. It kept ringing; if it wasn’t answered by a member of the remaining team (i.e. the audience) the show would not proceed. A brilliant touch. Audience participation works best when it is essential to the outcome. We overcome our inhibitions when we know characters we have invested in really need our help.

This time we are on Mars in the future – 2034, the production information tells us. We find ourselves seats in the large, circular control centre. Each desk is has a touch-screen tablet embedded, connected to a central computer. We’re in designated teams that each have specialised displays and there will be tasks for us to complete. Surrounding us, above our heads, is a 360 degree vista of the space lab installations humans have established on Mars. And a domed sky screen represents deep space.

Individually we log on and scroll through various Shift Reports that bring us up to speed on matters like weather, transport, team responsibilities … There is a lot going on for those who want to mine the site for information. For example Space Lab 2, Rangahau – yes, this is an Aotearoa NZ operation (much like Scott Base in Antarctica, perhaps) – is researching organisms that might be useful for transforming Mars in the coming decades.

There are also entertainment options like Cosmo Run and Space tennis – which our young companions (aged 6 and 9) are much more adept at than us oldies. Indeed they seem very much at home as they intuitively navigate around their screens.

Our Commanders – Ashley (Arlo Gibson) and Deedee (Emma Katene)* – give us updates on such housekeeping matters as waste water management, assess our clothing, given this is a ‘Launch Morning’, and make us all feel part of the team. It becomes clear we all have a role in ensuring Rocket Nebula will be launched safely and successfully.  

Impressively Asley and Deedee, referring to their tablets, name-check a number of us as the pre-launch checks proceed through the 90 second countdown. We need to pay close attention to our screens because any one of us may be called on to tap a system field and declare it is “Go”.

At this point I can say little else without committing a spoiler crime. Let’s just say an unexpected crisis loom and we have to work together to avoid catastrophe. And we do – because we have to, adults and children alike. We don’t get to invest in people the way we did for Apollo 13 but the technology, the room set-up and the way Destination Mars plays out does assure us real humans are involved.

This is what Gabe (age 9) has to say:
“I really enjoyed this play. I quite like the effects and the experience is great! The Technology tablets are a great addon. It’s fun and interactive and it’s exciting. It’s so exciting that it pumps adrenaline through your veins! I recommend this play to anyone who wants to see a good play.”
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*For each session of the five daily sessions, Commander pairings will rotate through Joel Baxendale, Emma Katene, Hannah Kelly. Arlo Gibson and Isadora Lao. 

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