This paper will not concern itself with any of the elements of the play but its story or the script. It will try to analyze the play following the structuralist point of view by using the text to understand key ideas and question beyond the texts itself and the post structuralist point of view by using post colonial theory in examining in closer detail whether the play is a gay liberationists material or not.
At this point, it is interesting to mention that the play was not written originally as gay play. It was rewritten, directed, and produced as such. In the structuralist point of view, reading beyond the lines, Renata (Frances Makil-Ignacio) is seen as a woman who understands human sexuality and behavior.
In a way, Renata could be read saying that “one could not nurture a heterosexual self in a homosexual being” particularly when she said “You can nurture and develop him all you want, dear. You can polish and sandpaper the rough edges.” Interestingly, I see Mira Albano (Ana Bitong) as a father, a mother, or a psychologist trying to change Amir's “sexual orientation” by proposing “drastic change.”
When Jom (Jomari Jose) confided to her that he and Alben (Lex Marcos) are lovers and when she said that "you will be a famous poptart," it seems to me that she said “Although you are a homosexual, you have the talent, you would be famous, and you would make it in the end.” Indeed, Renata has naughty eyes. She even has strong gaydar. Alam niyang bakla si Jom sa unang tingin pa lamang
In addition, when she recognized Alben as Alceste in Rolando Tinio's translation of Moliere's L'Misanthrope, it seems that she also recognized his sexuality as if saying: “There is nothing with being a homosexual. Pathologically, it is not a disease, and it is not even a mortal sin. Do not be ashamed. Come out from your shell. Come out wherever you are. Liberate yourself.”
Renata, to my mind, is the moving character in the rather “gay liberationists” point of view of the play, though not ultimately a gay friendly one. Amir addressed Jom “bakla” several times, and Renata called Jom a castrati, catamite, sodomite, effeminate, and a young eunuch.
And yes, Fluid is a “gay liberationists” play. It “celebrates the virtues of being effeminate.” Jom was not ashamed of admitting to Renata that he and Alben are lovers and of admitting that he still loves Alben despite everything.
Second, it shows the cultural presence of male homosexuals who “bespeaks a kind of warm-heartiness.” Despite that Alben was not accepted for Singapore run of Rent, he was never run of hope and compassion, and continued living his life, and like Shela Lucasta, he became a survivor against all odds though it would mean “watering” or being a “parlorita.”
Third, it narrative a good image of the male homosexual in the heterosexual world. The playwright did not distort and stereotype his homosexual characters but rather present them in a manner that the audience would understand them, where the audience would show love and compassion to budding homosexual artists.
Lastly, it reflected the longing of the characters for identity in their arts, be it in visual arts or in the performing arts. It “openly” and “honestly” discusses sex, sexuality, and homosexuality, beyond the lines, beyond the context of the play.
Indeed Renata is correct when she said “Maybe not everyone will see it. But I have naughty eyes.” Not everyone could understand homosexuality like Renata does!
