Review: A Bold, Temerarious Take on Live Theatre Makes THE VELOCITY OF GARY (NOT HIS REAL NAME) a ''Must See' at Off Kilter Theate

Neil McCormick: "And I thought of all the grief and sadness and f****d up suffering in the world, and it made me want to escape. I wished with all my heart that we could just leave this world behind. Rise like two angels in the night and magically...disappear."- from the 2004 film, Mysterious Skin.

Much like the films of Gregg Araki's career that defined the movement of New Queer Cinema, a new-ish Theatre Company plans to make its mark on the local theatre scene. No stranger to the stage and consequently the director's chair Local area performer/Director Derek Baxter introduces his brand of Avant-Garde style theater with the introduction of Off Kilter Theatre. Off Kilter's mission is simple and unique all its own, "to stand at the edge of theatre exploring boundaries, ourselves, and the Avant-Garde."

Oxford Languages defines Avant-Garde as, "new and unusual or experimental ideas, especially in the arts, or the people introducing them." Derek himself said, "I want Off Kilter to be a place for those who live on the fringes to feel comfortable." With their inaugural production of The Velocity of Gary (Not His Real Name) by James Still, Off Kilter Theatre has done just that.

The story is an interesting story plagued with addiction and love in any and all forms. At the top, we meet "Gary" (Not his real name) on his quest throughout the New York City scene. Gary begins the show as one is born...completely naked. Throughout his journey narrated simply by one named "Voice" we experience the ups and downs of living in a city amidst the threshold and everything it entails. "Gary" believes in love in any form man or woman, but personally enjoys the company of men. In a leather jacket and leopard print underwear, we are introduced to what makes "Gary" comfortable. The ups and downs of finding love in often more wrong places than right "Gary's" journey though rough is one not unfamiliar. You see in "Gary's" world pleasure has nothing to do with love, and sex always wins. Truth can be as much an aphrodisiac as fantasy, and "Gary" is thrust into its' world. He never imagined himself any different or older than he did yesterday. Through the 8 part journey, we learn that "Gary's" life though complex is made up of the same assimilations and ideals in which we all face and seek. The feelings of intimacy or lack thereof, heartache, love, loss, human connection in any form, and ultimately nothing.

The Avant-garde aspect of this show makes it ultimately the most unique and daring piece to grace area stages in quite some time. Imagine witnessing a story being told by a "Voice" in which you never see and the movement and ultimately the story told through the "physical" representation of that voice. Through the use of a prodigious amount of props, the actor known solely as "Body" moves about the space and acts out the story being narrated by "Voice." Each prop has a significant role to play in the telling of this story. Actor Zach "Hippie" Griswold a local area renaissance man of sorts portrays the role of "Body" completely mute but ultimately very telling and nuanced in every facet of the word. His almost needle fine execution of every movement is a marvel and a feat of epic proportions. Though not a word is uttered you feel for his role as "Body" and you feel just as wounded as his character at times and free-spirited in other times. It was as if every moment led to this role, and Hippie succeeded on all levels.

Steven C. Fox portrays the role of "Voice" effortlessly. His vocal delivery throughout the ups and downs of the story is top-notch. It is intriguing that you hear such a powerful delivery and yet never see his face. Wait till you hear his rendition of the Patsy Cline classic, "I Fall to Pieces." Steven C. Fox did a wonderful job, and to be as synched with Hippie's precise movements makes his job here a difficult one and he achieves this in great strides.

Derek Baxter has done it again, as previously stated he is no stranger to the director's chair and he has helmed a true gem with Still's script. His direction is so fine-tuned and expertly executed down to the finest detail. Avant-Garde is definitely a niche he has set out to tackle and has blown the roof off. If this is the road in which Off Kilter is paving then they truly have made their stamp on the scene and it is very exciting, and I for one am excited to see where they go next.

Technically the show is simplistic in some ways and complex in others. The MAR on Central Ave. in St.Petersburg is a new performance venue for the area. It's a small black box space with a lot of potential for some seriously great work, and it is a welcomed addition to venues for an artist to explore their creativity. The set is simple as it should be with the number of props used. At its center a cardboard replica of Michelangelo's "David" that looks like he went through a "punked" out makeover. Complete with an Anarchy symbol sprawled across his torso and a nipple ring this is anything but the curated sculpture on display. A trunk moved about the space and a "dress form" hung by a hanger, a bar stool, and an area rug makes up other centralized pieces on the set. The props from a quart of milk, down to an enormous amount of pills, a heart-shaped box of chocolate, an Anarchy laden Robin jacket, and many more not listed make this a prop heavy piece and without each one, the story wouldn't be as effective. The lighting is simplistic and functional for the small intimate space and lent well for blackouts and scenic variances. The only technical issue I found was a few times when the actor playing "Voice" delivered the louder parts of the dialogue the mic was amped so loud it came across screeching, maybe just adjusting the volume during these few moments would help the delivery as we are in a small space. Otherwise, the sound design down to the music selection and the haunting heartbeat was beautifully executed and lent well to the production. Derek Baxter, Stage Manager's Elizabeth Crawley and Saara Alsayed, Managing Director Camille Sanabria, and Cast deserve all the accolades here on an exceptionally delivered performance.

If you are looking for something completely "outside of the box" and who isn't in the current climate we live in, then James Still's Velocity of Gary (Not His Real Name) is the ticket you seek. This show is so unique and so unequivocally Queer, but at the same time embraces every walk of life. I think that is what makes this experience different than anything seen for some time as it truly embraces that which makes us all human. While in downtown St. Petersburg you can enjoy a bite to eat before or after the show, at a quick 75 minutes this production is a locomotive full-steam-ahead and this ride though never rushed is exceptional. In no way do I want to give away what happens to our characters as you truly need to experience it for yourself. You can catch the remaining performances at the MAR St. Pete through this Sunday, and for only $25 this is a wonderful night out of the box. Purchase those tickets soon as limited seating (only 30) are available in the space. Masks are required, and Social Distancing protocols are in place. Please note this performance contains adult situation, adult language, and possible nudity. If you are interested in potential trigger warnings please reach out to the theatre for more information.

"I didn't know when I met Valentino, I was giving him control over me, now I'm stuck in his melody."- from the song Valentino by Years & Years.

Photo Credit: Off Kilter Theatre

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