It’s a sad reality that people these days treat creative minds like factory machines that could simply be controlled and taken for granted. What’s even sadder is that these very artists, as a result, become internally conflicted about whether or not they should continue to fight for the things they believe in, or give in to the jadedness of those concerned with mere money and fame. This significant but often disregarded issue is satirically tackled in Floy Quintos’s Palanca award-winning play, Fluid.
Written and directed by Quintos, this third staging of the play is held at the School of Design and Arts Theater from July 24 to 26, serving as the thesis of the College’s graduating Technical Theater batch. Under the mentorship of industry professionals Jay Aranda and Sunshine Domine, the students handled the technical aspects of the production, from stage management to PR, working with professional actors and actresses.
What’s interesting about Fluid is how its script adapts to our ever-changing society. One of the original conflicts, for example, involved Filipino productions versus those from Broadway. Since our actors are now more versatile and able to take on a diverse range, the playwright felt that the issue wasn’t relevant anymore, thus shifting the argument to something more controversial. Other than this, the latest staging also sees the introduction of a new character portrayed by Anthony Falcon, who skillfully dances his way through the story, connecting the different scenes together.
The plot revolves around three pairs of characters with different backgrounds in art, with all of them ending up under one roof toward the end. Introduced first is Amir (Kalil Almonte), a struggling painter who one day meets art collector Mira (Ana Abad Santos), a wealthy individual who prides herself in conforming to the current tastes of society. Throughout the play, she tries to take Amir’s career to the next level by helping him score his first big exhibit. What is sacrificed in the process, though, is the painter’s soul. Notable here is how Abad Santos, reprising her role from the original University of the Philippines production, tweaked the way she portrayed the character by making her more tender and loving, owing to the fact that she was playing opposite the now younger-looking Amir. Almonte, too, was brilliant in his own way, shining most in the scene where he gets helplessly drunk, effectively being able to slur his speech and destabilize his movements.
The second pair comprises of gay couple Jom (JC Santos) and Alben (Russell Legaspi), both theater actors with big dreams. Also torn between popularity and passion, the two have opposing views from each other, concerning fame and artistic integrity. Santos and Legaspi were able to bring their characters to life; the spark between them was so natural that one can’t help but, at times, forget that they’re just acting.
The final pair is that of Renata (Amihan Ruiz) and Simone (Gel Basa), the former being a coordinator for the Philharmonic Orchestra who goes against the musical choices made by the latter during a wedding, resulting to a heated dispute between the two. Worth mentioning is Ruiz’s portrayal of her old woman character, getting everything right from the gait to the manner of speaking. Basa, on the other hand, was also effective in that she was able to make the audience truly despise her character’s uptight attitude.
Fluid leaves viewers questioning the realities concerning those of what really happens to artists in the real world. It remains relevant even years after its inception in 2004, thanks to its relatable characters, plot elements, and humor. The play doesn’t only target artists or those who use their talent as commodities. Everyone, regardless of position in life, will be able to get something out of this. Fluid sends a message that encompasses that of any calling—that in anything and everything we do, we have to find the right balance between passion and success. In short, we have to be fluid.
