CCP Artistic Director Dennis Marasigan and former Dulaang UP Artistic Director Dexter Santos lovingly remember the theater genius.
BY NOEL D. FERRER
We are fortunate to have been entrusted with the eulogies of CCP Artistic Director Dennis Marasigan and former Dulaang UP Artistic Director Dexter Santos, as they give their honest, thorough, outstanding, and heartfelt tributes to our dear Floy Quintos, who will be laid to rest today at Himlayang Pilipino.
Below are excerpts edited for length and clarity.
Dennis Marasigan fulfills his wish to be a “Quintosian” actor:
I first met Floy Quintos when he joined the UP Summer Theater Arts Workshop in 1979. I was one of the staff. Thereafter, he joined the productions of Dulaang UP as an actor and, in at least one instance, as a wardrobe staff member. He made a mark as an intelligent actor, taking on varied roles like the Bridegroom in “Peer Gynt,” Mercutio in “Romeo and Juliet” (with Cesar Montano as one of the Romeos), and Puck in “A Midsummer Night’s Dream” (where he had to carry me — as Demetrius–on his shoulders in one of the scenes).
Later, he would appear in the title role of Moliere’s Misanthrope (opposite Irma Adlawan as Celimene).
When Tony Mabesa became the theater director of the Metropolitan Theater, we were among the students he brought to work with him. I was a stage manager, and Floy ended up working in the PR department along with Boy Abunda. It was not surprising that Floy would turn out to be a good writer (one of his aunts was a magazine editor already at the time), but that he turned to history to write his first play (“Gironiere”) was not quite expected.
And to history, he went for his other plays that demonstrated his capability to create fascinating works with memorable characters that showed a keen hand for using the past to provide interesting and thought-provoking situations about the present, as demonstrated in “And St. Louis Loves ‘Dem Filipinos,” his take on Rizal’s second novel with “Fili,” (both later having second lives as musicals) and a reimagining of Maria Clara in “Suor Clara,” and history and myth-making in “Fake.” His imagination also brought views of possible futures in “Ang Kalungkutan ng mga Reyna” and “Collection,” examinations of present-day realities in “The Kundiman Party” and “Reconciliation Dinner,” and of the lives of artists and pseudo-artists in “Fluid,” “The Angry Christ,” and “Shock Value.” The last play could be considered a product of Floy’s own experiences in the entertainment industry as a television writer and director, of which one unforgettable moment came when someone who claimed to know Floy barged into the TV studio in the middle of a show he was directing (which was headlined by a former presidential daughter) and alleged that he had been promised stardom, forcing Floy to appear and explain himself on a talk show airing in the same station.
One story worth sharing: At one point when we were both working for a television network, he had to turn down directing a major project for the network (a milestone show for the Master Showman) because of his eye condition. I learned that he had recommended me to replace him, thus I got the job, no questions asked. Our paths would often cross even if we were not working together, (he had also learned to call me Dada which he picked up from my staff who picked it up from my kids). When I was named the artistic director of Tanghalang Pilipino, Floy was one of those I invited to direct for the company — in a comedy about military personnel in the middle of a coup d’etat. He wondered aloud why I would ask him to do such a play, but despite his initial protestations, “Kudeta” was among the most awarded productions in the first-ever Philstage Gawad Buhay.
Despite the many productions we had done together, I told him at one point that I have not had the privilege of being a “Quintosian” actor. Not one to make empty promises, he would only smile. Earlier this year, I got an invitation to be part of the cast of his latest play, “Grace,” about events in Lipa from 1948 to 1951. Having been born and raised in Lipa (and actually having met the main character portrayed in the play), I did not have second thoughts about agreeing to be in the production. Finally, I can call myself a “Quintosian” actor!
Sadly, even if I do, Floy will not be around to see it, and that we will no longer have more “Quintosian” works to look forward to. Let us all be glad that we knew him and take joy that his works and his memory will remain with us forever.
Requiescat in pace, Florencio “Floy” Quintos.
***
Dexter Santos says it’s time for Floy to take his much-deserved curtain call:
How do you pay tribute and say goodbye to Floy Quintos at the same time? The former, effortless. The latter, extremely difficult. But I will desperately try. As a theater arts major back in the late ‘90s, Floy Quintos has always been an iconic name. The reputation always precedes the person. The intelligence, the wit, and the brilliance. It was 2000 when I finally met Sir Floy. I was Sir Anton’s assistant director for Tita Gilda Cordero Fernando’s “Luna: An Aswang Romance.” Sir Floy was the Aswan Buster. During the first day of reading, the role of the reporter hadn’t been cast. Since I was the AD, I read the part with him. Tita Gilda seemed to like what she heard and finally cast me as the reporter. The one-page scene written by Rody Vera got extended and extended because we were both improvising and planning our scenes as we threw lines in the corner of the rehearsal room. From there, I experienced firsthand his generosity and humility. Walang ere, walang pagdi-diva. Go lang nang go. I was still a theater student, but it didn’t matter to him. I was treated as a co-actor, and he was willing to spend time working on the scene no matter how simple it was.
It was in 2005 when I was fortunate to start choreographing for the “Quintosian” works under Sir Alexander Cortez’ direction. From “St. Louis” to “Shock Value” to “Atang,” I will forever cherish our conversation at the Guerrero Theater lobby, where we would discuss how to approach or improve the scenes or numbers in his original plays. Ang sarap-sarap.
Hindi pa masyadong uso ang term na dramaturgy noon sa Pilipinas, but from the get-go, he was using those lenses – a wide range of perspectives on how history and culture affect the narrative and the character in relation to audience perception.
I started directing for Dulaang UP in 2008. But it has always been a dream to direct a “Quintosian” play. I wasn’t a Sir Tony or Sir Alex whose productions of “Quintosian” plays remain immortal. But in the late 2012, kinapalan ko na ang mukha ko. I asked him if he was open to writing a play for me to direct for Dulaang UP. “Collection” was our first collaboration as playwright-director.
Not once did we ever argue or fight. Through these productions, I got to work with the best actors, actresses, and designers of this country. It was never about the money. It was always the material and their love for Sir Floy that made them say “yes.”
Who wouldn’t join a “Quintosian” play? A master playwright. A genius who can impeccably mix history, culture, and fiction and elevate it to iconic scenes.
An actor’s playwright. Speech always tripping on the tongue. Madulas. Masarap bigkasin. He writes with actors in his mind. Or sometimes, adjusts it to the actor’s temper and range.
A designer’s playwright from the 17th Century to 1904, from Guam to India, from Mabini to Alfonso Ossorio, from the classic to the contemporary – always demanding pero sobrang sarap i-design.
A director’s playwright. He always writes scenes that would inspire and challenge me. Lagi niyang sinasabi, “Ito Dexter Santos ‘yan.” All I need is a phrase, a keyword from his text, alam ko na ang gagawin ko.
An audience playwright. His works are diverse – spanning time and genre – but the audience always goes home enriched. His works will always touch one’s soul.
Masarap katrabaho ang isang Floy Quintos. Walang pagpapanggap, walang yabang, truthful sincere, maalaga. The audience always experiences his brilliance on stage. But beyond that was a man who would do everything for the show. From raising funds, and photocopying to teaching students how to write PRs and marketing and sponsorship letters. I am sure you have read in Facebook ang super galanteng pa-pizza, fishball, kwek-kwek, at dirty ice cream.
The students loved him. Always a breath of fresh air. And he loved the students back. This was the reason why he kept on writing for Dulaang UP. After “The Kundiman Party,” when I was exiting as DUP’s artistic director, and after Sir Tony’s demise, he told me na pahinga muna siya sa pagsusulat for Dulaang UP. For two years during the pandemic, I asked Sir Floy to write an original play for DUP …. I was ready for a no as an answer, but he said yes – again out of the love for the students. Thus, “The Reconciliation Dinner” happened.
Sir Floy, during “Angry Christ,” you told me that you won’t be able to write a play anymore.
But it happened. In “The Kundiman Party,” we invited actors with no working script. You just had a title and a general plot. But it happened. I have learned to wait and trust because I know all will be alright in time. For “Grace,” you sent me and Stella numerous apology messages on how it was very challenging for you to write this play. With the delays, incessant rewrites, and versions, not once did I ever doubt. I remained unfazed.
Lagi ko po sinasabi sa’yo, “Yes po. Go lang po. Basta ako, I believe!!!”
And now that you are gone, I am so sorry, but for the first time in our collaboration of 11 years for the theater, online productions, and special events – sorry, Sir Floy – bigla akong nag-doubt. The FB and IG messages, the phone calls, the dinners, the conversations in every theater lobby won’t happen again. These were the backbone of our work and friendship ….
Today is supposed to be “Grace’s” first day of rehearsals. ‘Pag sinasabi mo sa akin na ‘di ka makapunta sa rehearsals dahil may show ka or nasa GMA ka or nasa OB ka or anything, I would always say, “Ok lang, balik ka lang ‘pag free ka na. Diskartehan ko muna ito. Come ‘pag free ka na.” …Pero ngayon, aaminin ko, sobrang mahirap….
Sorry bigla akong nag-doubt. Pero tulad ng sinasabi mo, go na tayo. … Sobrang hirap man, pero go na tayo. I believe.
When I heard the news that you had died, I kept on sending you FB messages. But one thing I super asked, please, please, Sir Floy, let the Holy Spirit intercede and guide me kung ano man ang gusto mong mangyari sa “Grace.” Sabihin mo lang, iparamdammo lang.
And just like the way we did it before, I would gladly and humbly execute it.
Not everybody knows this, but we never do curtain calls for our collaborations because we always believed that the theater is never about personalities. That the show is the ultimate star. Pero Sir Floy, heto na ‘yun. Panahon mo na, for your grandest and most deserved curtain call.
