Four Cervezas de los Muertos, an order of guacamole and chips, a beef quesadilla and 80 bucks later, my friend and I headed over to The Carlton Hotel for “Jacqueries.” Produced and presented by Knight Arts grantees FilmGate and Grass Stains, “Jacqueries” was “a political heist story told through movement — an inside-out experience of conspiracy, security theater and solidarity, inspired by Parkour’s co-opting of urban space.”

“Jacqueries.” Photo by Neil de la Flor

In other words, we had to move with the performers as the story unfolded. The demand for the performance was overwhelming, so we didn’t get access to the goods (an iPhone and ear buds), but we didn’t mind. We had fun anyway.

“Jacqueries.” Photo by Neil de la Flor

The performance started at The Carlton pool. We were led out the backdoor into the alley between The Betsy Hotel and The Carlton. We were then led through a corridor between two buildings, skipped across Ocean Drive (we didn’t really skip) and ran across the grass (we actually skipped) to the boardwalk where two dancers were waiting for us. They danced-out a fight scene to a soundtrack and 3-D video overlays piped through the iPhones that we didn’t have. The visual and aural cues ported through the iPhones informed audience members of hidden clues and/or other goodies to consider throughout the performance.

“Jacqueries.” Photo by Neil de la Flor

Our experience wasn’t complete, but it didn’t matter. “Jacqueries” turned the audience into living, breathing participants of the work and of the inner workings of a performance piece. It was also about gently disrupting the South Beach nightlife with art that the casual tourist or resident wouldn’t normally encounter, or notice, without ‘cues.’

“Jacqueries.” Photo by Neil de la Flor

The best moment of the night for me was when we entered the alley between Washington Avenue and Collins Avenue, between Espanola Way and 15th Street. A dancer moved against a graffiti-ed backdrop. A car turned into the alley. The driver stopped. Shut off the headlights. He didn’t back up, but idled and watched the performance play out. A moment framed by two opposing forces–the need to move and the invitation to stay still.

“Jacqueries.” Photo by Neil de la Flor

“Jacqueries” circled back to the scene of the crime (or where the crime would be committed). After the alley, we trotted (strode briskly east on Esplanola Way) back to The Carlton, where we were locked in a dark room in the hotel basement. A fight-hostage-esque scene unfolded, and then we were ushered huffing and puffing up the stairs to a hotel room on the 5th or 6th floor of The Carlton, where the final act (or was it the final act?) was committed. A murder (with a faux sniper), and then the murderer was murdered. At least that’s the story I got.

“Jacqueries.” Photo by Neil de la Flor

In the end, the ending was what it was. A woman floating in a pool. A man shot in bed. A mystery within a mystery. A performance across a landscape dominated by club-goers, tourists and insanely overpriced Mexican food. Chance encounters. Uncertain outcomes. Stories devised for us and stories we create out of our encounters with that bizarrely beautiful landscape of South Beach. My only advice: don’t crave Mexican food while on South Beach if you’re trying to stick to a budget.

Otherwise, go forth. Walk down alleys, unmarked corridors, gently trespass and leave Grass Stains.