Chris Perry

Legendary musician Chris Perry passed away at his Margao residence on January 25, 2002 casting a gloom on Goa’s music fraternity. Forever etched in gold will be the role played by the self-taught diminutive maestro in gaining due recognition for Konkani music while taking it to dizzy heights. To him goes the credit of creating the singing sensation of all time, Lorna, together with whom Perry recorded Konkani music’s all-time classics. Although adept at playing any instrument, the trumpet it was that built the celebrity’s endearing image, while he left his mark on the Konkani Tiatr stage with Novro Mhozo Denvchar and Tum Ani Aum, and on the silver screen by producing the only colour Konkani film Bhuierantlo Munis. The 74-year-old virtuoso, who had been suffering from Parkinson’s disease, leaves behind his wife Lily and sons Giles, Glenn, Miles and Errol.

Souza Boy

Popular Konkani tiatr artiste Souza Boy (Caetano Francisco de Souza) expired on February 2, 2002 following a cardiac arrest. His death came as a shock to the entire tiatr fraternity, as Souza had performed in Menino de Bandar's drama Haath Paiem, the previous evening. A member of the famed Konkani stage Trio "Trio Kings", Macazana-born Souza Boy, besides being an excellent composer of satirical Konkani songs, was also a good actor.

In a Shambles - by Wilson Mazarello (Wilmix)

In a Shambles
The tiatr badly needs patronage from the State government to be able to look up

By Wilson Mazarello (Wilmix)

Every State in this God-blessed country of ours has its own cultural identity. In fact, some of these art and culture forms are so unique to our States that one can immediately, at first sight or sound, identify each one of them.

One such unique art and culture form of Goa is the "Konkani Tiatro", the most popular form of drama in Goa. There is no drama-form that resembles the Kon-kani Tiatro in any other State of India.

The Konkani Tiatro took birth in India (Mumbai) more than 100 years ago on the 17th of April, 1892, through a young Goan lad named Lucasinho Ribeiro. At the start it was based on the Italian opera of those times. In fact, the very first Konkani Tiatro was a literal translation of an Italian Opera entitled Italian Boy.

Beginning from the small seed sowed by Ribeiro, the Konkani Tiatro, facing all odds, flourished over the years into a fully mature tree branching all over Mumbai, Goa, Karachi, Pune, Gujarat, Rajasthan, Cochin, Mangalore and many more places along the Konkan coast. It blossomed into a full formed "theatre" with its roots firmly entrenched into the solid foundation laid by its founder Lucasinho Ribeiro and his contemporary Joao Agostinho Fernandes, who later came to be known as "Pai Tiatrist".

Thanks to the love of and dedication to this drama-form from the generation of Tiatrists that followed, the Konkani Tiatro was able to get past the century of its existence. The present day Tiatro does not have any vestiges of the old Italian Opera as the Goan Tiatrists have modified it so well that it has now taken a complete Goan form with Goan social themes, Goan music, Goan settings and songs that are based on the happenings in the Goan society. In short, the present day Tiatro is the essence of Goan culture.

The Konkani Tiatrists deserve praise for their Herculean efforts in popularising the Tiatro without any noteworthy patronage of the State government. But however, strong and dedicated an effort it may be, there is a limit up to which a cultural form of art can survive and progress without government support. If the Konkani Tiatro is to survive and progress it must have the blessings and patronage of the State government. The government of Goa should first of all willingly accept the Konkani Tiatro as our cultural heritage and be proud of its achievements. It should back it fully in terms of finance, performance facilities and training. The government must exert to take the Tiatro to every nook and corner of Goa and beyond. There is a feeling among all Tiatrists and Tiatro-lovers that the state government is doing nothing to promote the Tiatro. And I fully agree with this view. It is true that the Goa governments (and that included all the governments that have come into power since the liberation of Goa) have given a step-motherly treatment to Tiatro.

Some term this government’s attitude as communal because the Tiatro is mainly dominated by Christians. But I say this is not at all true. The truth is that none of the Christian-led governments that came into power did anything for the upliftment of the Konkani Tiatro. All Christian chief ministers since Liberation spoke and promised a lot to the Tiatrists but they were all hollow promises, to say the least. Actually, most of these politicians used the charisma of Tiatrists only for their election propaganda and no sooner their purpose was served, than they dumped the Tiatrists and Tiatro.

The major part of the blame for the plight of the Tiatro goes to the Tiatrists themselves. Is there any unity among the Tiatrists? Is there any Association of Tiatrists that speaks for the Tiatrists in one voice? I am aware of the existence of at least two Tiatrist associations on paper, but is even one of them functioning, as it should be? No.

Inspite of these two associations, the ‘crab’ mentality still exists among Tiatrists. I am fully convinced that if all the Tiatrists had got together under one roof of an association and made a firm approach to the State government with a well-intended proposal or scheme, the government would not have dared to reject it. Some of the Konkani Tiatro stalwarts, have mass following. Their charisma attracts Goan audiences in thousands. One cannot even imagine what could happen if they were to join hands and put forth their proposals. But, alas! That was not to happen. At least it has not happened for the last 109 years. But let’s nurture hopes for the future.

I am tempted here to narrate one example of disunity among Tiatrists. I myself, along with some other senior Tiatrists, was instrumental in putting up a proposal to name the Open Air Auditorium of the Kala Academy after a renowned Tiatrist. This was about 10 years ago. The proposal did not receive much attention from the State government then. Governments fell and new governments came, but none of them gave the proposal the attention it deserved. This was because it was not backed by any association of Tiatrists, but only by individuals. Even now I feel that if this proposal were forcefully followed up by the Tiatrists’ association, undoubtedly, it would be taken up and implemented. But our Tiatrists have neither the patience nor the time to revive this proposal. In fact, some of the Tiatrists showed disunity even on this issue by each one suggesting a different name for the Open Air Auditorium, thereby creating a controversy. And our governments are quick to take advantage of such controversies and shelving proposals. And that is exactly what the government did.

A well-meaning Goa government that accepts the Goan Tiatro as a part of our cultural heritage, must have an annual budgetary provision for its promotion and development. The present set-up of the Kala Academy is in no position to do justice to the Konkani Tiatro. But considering the rate at which the Tiatro is growing, it may be justifiable to even create a separate "Cell" or Directorate with its own budget exclusively for Konkani Tiatros, with facilities to branch into Konkani films. Among the other activities that the Goa government could take up for promotion and development of the Konkani Tiatro are organising competitions and festivals of Tiatros at taluka levels, besides the lone annual Kala Academy-organised Tiatr competition. Groups from all over Goa, even the remotest corners of the State, participate in this Tiatr competition. These groups endeavour to bring in innovative changes for the betterment of the Tiatro. Their investment is high and so is their standard of performance. But what do they get in return? A few small cash prizes for the winners and certificates of participation. That’s all. Beyond, this, there is hardly any exposure to their efforts and talents. And these groups cannot stage further performances because of the high cost involved. So, isn’t it a pity that Goans beyond Panjim do not get an opportunity to see these award winning Tiatros?

Good theatre and innovative theatre need a push and should be taken to the people, for in this race the commercial Tiatro beats them hollow. Hence, would it not be a good idea if the Goa government every year finances 33 performances of the winner of the Tiatro competition (3 performances in every Taluka), 22 performances of the first runner-up (2 performances in each Taluka) and 11 performances of the second runner-up (1 in each Takuka)? This gesture will prove that the government is proud of our Art & Culture and that there is no communal bias.

The need of the hour is also to have at least one fully furnished and equipped auditorium in every Taluka. As of now, there are only two government-owned auditoriums in Goa - the Kala Academy’s auditorium in Panjim and Ravindra Bhavan at Sanvordem. The rest are owned by private trusts. Margao’s Gomant Vidhya Niketan’s hall is the only silver lining on the dark horizon of halls available for Tiatros at city centre, as Mapusa’s Hanuman Natyagraha is ill - maintained and Vasco is at the mercy of mattous. Can the Tiatrist Associations pressurise the government enough to expedite the building up of government-owned hall in each Taluka on priority? But it is not only sufficient to only build auditoriums, but the rents of these halls should be subsidised so that they don’t become out reach for the Konkani Tiatrists. For higher rents would mean higher ticket rates, and if we want the audiences to come rushing for Tiatros then the tickets should be within the reach of the common man.

There is no doubt that the Tiatro is predominantly run by Christians and kept alive by the same community. On the other hand, to a lesser extent, the Konkani Natak of Goa is mostly patronised by the Hindus. So, I strongly feel that the government should endeavour to further popularise the Konkani Tiatro in areas having a vast Hindu population, and likewise popularise the Konkani Nattak where Christian population abounds. None of the two drama-forms should be allowed to suffer at the cost of the other. This will automatically encourage more and more Hindus to join the Konkani Tiatro and so also the Christians to join the Konkani Nattak. To a certain extent this process of integration has already started at least in one direction. Many Hindu artistes are being seen taking to the Tiatro and making a successful career on stage.

Surely, I think it’s now time for the Konkani Tiatro to do a conscious introspection. This should start with every producer or director, who has the natural tendency to feel that his work is the best. Have we ever bothered to find out what the intellectual audiences have to say about us? What exactly they feel about the quality of the present day Tiatros and Khell-Tiatros? Where do we stand in quality vis-à-vis the other regional theatres of India? Friends, whether we like it or not, the common feeling among the real well-wishers of the Tiatro is that the Konkani Tiatr and Khell-Tiatr sadly lack in direction. It is only with proper direction that our actors and actresses to give performances of national and international standards. Our Tiatro also needs to improve on other fronts, such as stage-setting, light effects, sound, apt music, etc, but since it will be difficult for us to improve in all these areas, all at once, at least direction and acting should be given utmost importance.

Yet, at every step, it becomes more and more evident that the government’s will to embrace the Konkani Tiatro is very necessary. There is urgent need for Tiatrists to join hands with the State government and with the government’s assistance, take the Tiatro to a new peak.

The Tiatrists must impress upon the government the contribution of the Konkani Tiatro in enriching the Goan culture and the need to proudly take this unique and entertaining drama-form to all parts of the globe. Only then, can we all hope for a better future for the Konkani Tiatro.


Wilson Mazarello (Wilimix) is a veteran tiatr artiste

(Goa Today/August 2001 issue)

TIATR: MIRROR OF GOA'S CULTURE

TIATR : MIRROR OF GOA'S CULTURE

The Konkani tiatr, a dramatic art form, unique to Goa has flourished and thrived for over a hundred years. Tiatr has been sustained entirely by popular support as it has never been extended any patronage and help either by the Portuguese colonial regime or successive governments in post liberation Goa.

Tiatr shows are invariably housefull particularly when a new tiatr is launched. Tiatrist have achieved a high degree of professionalism in recent years with elaborate sets, lighting and other technical aspects. But the success of the tiatr is mainly due to the fact that the themes chosen are topical and contemporary.

What distinguishes the tiatr from other dramatic forms, is the songs on topical, burning, controversial issues that are interspersed through the performance. These musical interludes which are very satirical are independent of the main theme of the play. The songs are irreverent and gently or at times even savagely poke fun at the government.

Konkani tiatrist have been unsparing of public authorities and have consistently exposed their follies and subjected them mercilessly to ridicule. While tiatr has always relied a great deal on satire, it has most of the time been clean, good fun and there is almost never any malice.

Tiatrist have always demonstrated a very high degree of social awareness. Most of the themes of tiatr are concerned with social problems confronting the people.

Tiatrs have focused on the drug problem, alchoholism, the false sense of values of Goans who strike it rich in the Gulf, the fall in values that lead to the neglect of parents, the problems of inter-caste marriage and the like.

There is a very healthy sense of irreverence in the themes and the dialogues in tiatr and the high and mighty including ministers and even priests. The tiatr as a dramatic form has been traditionally the exclusive preserve of the Christian community.

Tiatrists come from all sections of society. Besides the regular commercial shows, tiatrs are invariably held to commemorate every church and chapel feast in the State.

Though a popular entertainment form, tiatrs have always catered to the family. Though the dialogue can be very earthy it has none of bawdiness of the Marathi tamasha, which it resembles in many ways.

Even the harshest critics of tiatr acknowledge that it was this dramatic form which kept the Konkani language alive during Portuguese colonial rule, when Konkani was suppressed. Tiatrists played a major role in the struggle to make Konkani the officials language of the State.

He gives image makeover to Konkani 'tiatr'

Panaji, Jan 7 (IANS) It is financially lucrative and vibrantly popular, but the century-old traditional Konkani drama form of 'tiatr' is still looked down upon by those who matter. Post-colonial culture in Goa has given step-motherly treatment to art forms influenced by the West. Even the minority Catholic elite here looks down on tiatr as being too plebeian for their tastes.

Now, a portrait photographer is attempting to change that image. Literally. Alex Fernandes, a photographer of Goan origin who grew up in Mumbai and worked in the Gulf, has taken it upon himself to exhibit the portraits of some of the best tiatrists (as those acting in it are called).

Fernandes, 44, is showcasing his portraits of tiatrists at a bookshop in north Goa this week. Fernandes runs a studio in Goa that specialises in portraits and is called Portrait-Atelier.net.

"I did the tiatrist bit, because I thought that is my representation of a Goan portrait," he told IANS.

"It struck me that in Goa everybody identifies with the Konkani theatre artistes. I thought it would be a nice idea to get all these together and do a series on them."

"Significantly, the tiatr also started in Bombay (now Mumbai) as a way for the expatriate Goans to keep in touch with their homeland (then still a Portuguese colony and a sea-journey away)," he notes.

"Growing up in the Dhobitalao (locality of Mumbai) was like being right in the heart of the tiatr. In two places, Rangbhavan and Bhangwaddi, Konkani dramas were regularly held. Tiatrists could often be seen at the Sonapur Church or the C. D'Souza Bakery after the mass," he said.

Teatr has a strong Portuguese influence.

"I'm not a big tiatr fan myself," Fernandes confesses. "But I saw in my work sharp similarities with those of the characters in (cartoonist) Mario Miranda's book on Goa."

US-based scholars of Indian origin, like the Sanskrit, Marathi and Hindi scholar specialising in Indian drama, Pramod Kale, have written about the Konkani stage, explaining the relevance of the tiatr in Goa's cultural and historical evolution.

While in Goa, Fernandes created three series of portraits, dealing with musicians, artists (shot for a major local art exhibition) and tiatrists.

"The musicians were a little difficult. For some reason, some seemed reluctant to cooperate. Once they got into the studio they were okay though. On the other hand the artists - perhaps because they were artists - built a different equations. In fact, tiatrists and musicians who came to the studio were not a problem. They become the collaborator very easily."

Portrait photography is a different ball game, especially when it involves non-professional subjects coming in on a walk-in basis, rather than professional models, Fernandes explains.

"The professional model is trained for it. They know their best angles and are not camera-shy. With a walk-in, it's a different story. Specially when it comes to communication skills," he says.

His first memories of photography go back to a time when as a 10-year-old he would mess around in a darkroom at the prominent Mumbai college - St Xavier's, where his father lectured.

In 1987, Fernandes headed for Kuwait, where he learnt more of the trade with top portrait companies.

In Kuwait, he kept honing his skills for the next 13 years, taking portraits. He shifted companies, faced the Gulf War, and came back home as a refugee-through Iraq and Jordan.

Later on, Fernandes shifted to Goa.

Fernandes is pro-digital photography. "There are some people who say 'film was the thing'. I think it's only fear of technology. You can still be purist as a photographer, and still use the contemporary top-of-the-line (digital) photography," he says.

IANS

‘He Goynche Put’

God has his own plans
by J P Pereira (Navhind Times)

Inacio de Canacona presents ‘He Goynche Put’ a drama based on the sacrificial life of a priest, his brother and parents. A different story and a good presentation!!
Anushka and Lazarus have two sons. One has been ordained a priest and deputed to a place with plenty of communal violence but also with a need of a missionary. The other son, Derrick, was a no good womaniser but has turned a new leaf with the prayers of his brother as well as some good advice. He is going to marry Riya, daughter of PI Braz, a honest cop. On the day of the wedding the family awaits the arrival of the priest, who is supposed to celebrate the nuptials. But there is some terrible news.....Watch the rest in this impressive drama that has a nice message at the end.

The title ‘He Goynche Put’ refers to Fr Agnel and Fr Jose Vaz and the director exhorts the Goan youth to emulate these holy priests. The Script has some good dialogues especially between the young priest and the leader of the religious bigots.
The cast has a couple of veterans but mostly fresh faces; Natty makes a fine debut on the Konkani stage with a beautiful performance as Riya. Her stage presence, dialogue delivery and overall acting are very good for a newcomer. Keep it up Natty, we hope to see more of you on the stage.

Jessie plays the role of the mother in her usual confidence and Flavia acts as the nun. Neville is perfect as the young priest and later as the Vicar, and so is Baptist as the unfortunate Derrick and Inacio as the leader of the communal goons. Peter de Merces is the father, Lazarus and Gabriel, the honest cop. Marshall is the sacristan in the Church.

The tragic tale is offset by good comedy from Rumaldo, Pitush and Allwyn, who present some good fun.
The opening song is rendered by Inacio with music provided by Braz de Xelvona. In between the acts there are some nice songs form Inacio, Jack, Rosario and an impressive trio from Inacio-Neville-Baptist.
Watch this drama by the upcoming director; it has entertainment and a nice presentation.

‘Sonvsar Sompo Porian’

Love and betrayal

by J P Pereira (Utorda-Goa)
Navhind Times


Comedian Dominic with Luis Bachan presents a tale of love, deception and forgiveness in ‘Sonvsar Sompo Porian’ their latest ‘tiatr’. The main story is beautifully merged with incidents of cyber crime and the investigations of a private detective that are packed with humour.There is the family of Lloyd, a self made rich businessman, his wife Luiza and their teenaged daughter, Macleena. This is a happy family, Lloyd loves his wife and daughter and a lot of understanding exists between the three. But somehow evil creeps in. Macleena steals money from her parents, this time to buy a mobile! Some days later Effie, a long lost friend of Luiza’s, comes on a visit and to seek help. Luiza gives her a warm welcome and forces her husband to help Effie find a job. Soon problems start creeping in and a rift develops between Luiza and Lloyd. Lloyd gets closer to Effie.
Meanwhile, Macleena uses her computer and cell phone to get on the Internet and lands in trouble. What happens later is to be watched in this interesting play that keeps the viewer fully engrossed.

The tale of the troubled family is packed with situations that could happen to anyone. The deterioration of the strong love that existed between the husband and wife is presented in a straightforward manner. The comedy involving the private detective, at first appears like the usual sideshow, but soon develops into interesting investigations of cyber crimes that the teenaged daughter is trapped in. The actors have been chosen to play appropriate characters and Dominic’s direction is sleek together with a well written script.

Luiza plays Luiza, a fine role of the loving but absent minded wife and mother who lands into trouble. Dolla makes an impressive comeback to the Konkani stage after many years to play Wiffie, the other woman, full of fun but at the same time sad for having wasted her life. Young Macleena has lots of talent and acts well as the troubled teenager. Pradeep Naik is aptly cast as Lloyd, a role he plays in style with just the right amount of emotion. Rupesh Jogle is wonderful, as the corrupt and evil criminal who is trapped by detective Surya, played by Dominic looking stylish and eccentric in his black outfit and hat. Seriton is Royston, in a small but important role and Willie plays the father of Luiza. Succorine with Luis Bachan and Mathew create quite an entertaining laugh riot, throughout.

A fine set with some good light effects help to make the drama even more watchable. The music is good and there are some good songs from Dolla, Luiza, Andrew, Albert, Willie and Luis. Francis de Tuem sings two thought provoking solos and a trio with Dominic and Andrew. A play that is not to be missed!!!

“Challis Dis ani Challis Rati”

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IN OUR LIVES........

What would happen in our lives if we stripped away the facade of "being a good Christians" and looked honestly at the struggles in the midst of job, money, lifestyle, parenting, relationships, schooling and more? What happens when we stop pretending that it’s so easy to follow the Almighty One? Can we learn to accept that even when worn down to the stub, the candles that are our lives can still illuminate the spaces we move in? Why should we even bother?

"Challis Dis Challis Rati" spaced from the Ash Wednesday to the Resurrection blends the intimacy of personal storytelling, digital reflection, world wide myths, and spiritual narratives to examine the call each of us has received to be a light to the world, even when we’d just rather hide it under a bushel.

Simon Gonsalves, popular director and playwright presents "Challis Dis Challis Rati" with Comedian Agostinho, Jessie Dias and Willy Silveira and famous local artistes Marcus Vaz, Laurente Pereira, Mario de Majorda, Seby Mascarenhas, Comedian Philip, Querobina, Sandra Fernandes, Ryana, Bab Pallen, Ignatius de Xelvon, Cajetan de Sanvordem, Michael D’Silva, Anthony Carr, Katty de Navelim, Sanny de Quepem, Salu Faleiro, Joseph, Manu, Francis de Tuem and Ronny-Jasmine.
Watch the struggle between dark and light, give and take, faith and doubt, action and apathy on March 23, 2007 at Hawally Hall in Kuwait from 4pm onwards.

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Fasting And Repentance For Lenten Season

Lent is the season of penance, sacrifice and fasting for 40 days and 40 nights. The Lenten season starts form Ash Wednesday and ends on the auspicious day of Easter Sunday- This festival is celebrated in great pomp and festivity all over the world by the Catholics. During Lenten season, devoted Catholics refrain from smoking, drinking, consuming meat products, etc, and instead do penance for their wrong doings and ask for forgiveness from the Almighty.

Konkani dramas or Tiatrs were never held during Lenten season in Kuwait, but this year Simon Gonsalves-the talented script writer-director and singer from Panchwadi-Goa had a brilliant idea to entertain the Goans with a message for lent. His drama “Challis Dis ani Challis Rati” was showcased at the Hawally A/C Auditoruim on 23rd March with a galaxy of stars and tiatrits from Kuwait and Goa. Willy Silveira – the upcoming sensation on Konkani stage along with the veteran Jessie Dias (known as ‘Mother of Konkani stage) and popular Comedian Agostinho Temudo, were flown in from Goa for this wonderful themed drama, Simon Gonsalves well known in the Tiatirst circle as an excellent director and talented artiste par excellence for his scenes and sceneries. His Konkani movie “Chovis Voram” was an instant hit, so also his two dramas held in Kuwait.

The Lenten family drama was very touching and hard hitting, but tuned the right chords as some elements of the society refusal to accept facts and turn towards salvation and repentance. This type of entertainment is rare specially when it has a message for the masses. The special effects and stage setting was beyond doubt praiseworthy and nothing could falter when Santana Piedade Afonso (SPA) is involved-to put in the words of Simon Gonsalves.

Musical score was provided by Shahu Almeida & His Musicians and the event was organized by the United Club of Utorda. Overall Simon Gonsalves along with selected artistes presented the drama in a professional manner. The message of give and take, darkness and light, faith and doubt, action and apathy was indeed well conceive.

Appropriate comedy by Philip Pereira, Agostinho, Querobina Carvalho and Salu Faleiro, well meaning and songs on love, faith and sacrifices were rendered by Marcus Vaz, Sanny de Quepem, Jessie Dias, Anthony Carr, Willy Silveira, Ignatius de Xelvon, Laurente Pereira, the enchanting Ronny-Jasmine D’Cunha, among others with Riana Azavedo, Sandra Fernandes, Jessie Dias Simon Gonsalves, Cajetan de Sanvordem, Joseph Rodrigues, Manu D’Souza, enacting the major roles in the drama to perfection.

Janet Franco e Fernandes was the chief guest for the drama. The scenes of Ash Wednesday and the Last Supper were astonishingly well performed and depicted.

Above article appeared in THE TIMES, Kuwait’s Premier Weekly Newspaper, dated March 30 – April 05, 2007

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Behind the Scene

It is most unfortunate that we seldom remember the people behind the setting of stages and appreciate the pain they take for that. In fact, a drama takes its peek when the stage setting is synchronized with the core theme of play.

In Kuwait most Goans theaters are set by Mr. Santano Piedade Afonso (SPA) and for all time doing it beautifully and he has already started his home works for the forthcoming family Lenten drama “Challis Dis ani Challis Rati” on March 23rd, 2007 at Hawall;y Auditorium. Come and watch the beauty of stage setting and six dazzling scene and sceneries to the proposed Auditorium.

‘Rupem Bhangar Magi Naim’

Parental love towards children is incomparable

by J P Pereira (Navhind Times)


Comedian Dominick and Luis Bachan’s latest presentation ‘Rupem Bhangar Magi Naim’ is a tale of love showered on children by the parents, the ungratefulness from the children and the victory that can be achieved in most situations through love and in others, with a hard slap.Albert and Fatu is an elderly couple with a wayward son, Eddie. The parents are poor, all their savings were spent on the treatment of the son, when he was a baby. Now that they have no money, the son ill-treats them and makes demands.
George and Dolla are the other couple, well off and pampering their only son with gifts, money and love as well. George is loved by his neighbours as he does everyone a lot of good. He manages to put Eddie right but his own son......well, the rest is to be watched on stage in this engrossing and entertaining play which has been presented very well.

A good script highlighting various social issues and evils in our society is stylishly directed by Dominic. The appropriate setting and the light effects enhance the quality of the production with the well chosen cast putting up fine performances. Dolla is wonderful as the pampering mother who loves her husband and son as well as the bickering neighbours. Watch her as she awaits outside the ICU in the hospital, where her husband is admitted, Simply Superb! Luiza as Fatu puts her all in the role.

Pradeep Naik gives another brilliant performance as George especially when he displays disappointment in his son. Rupesh Jogle is perfect as the wayward son. His acting and dialogue delivery is great. Francis de Tuem is the rich man’s son and performs well in his first major role. The cast also has Albert as Albert, Andrew and Leslie as friends, and Millie as the school teacher.
As expected in Dominick’s plays, the comedy is packed with humorous situations. From the first entry that Luis Bachan makes along with Succorine and later Dominick as the
bald tailor with Mathew, the fun never ends keeping the audience roiling with Laughter.
Carlito backs the singers with some well arranged music and Xavier’s drumming is great. Andrew sings the opening song to introduce the play. There are solos, duets and trios by various singers including Luiza, Dolla, Andrew, Albert, Mathew, Luis, Dominick, Willie and Leslie. One solo rendered by Francis de Tuem stands out for the courage and guts displayed in the lyrics by the singer.
A wonderful presentation that has to be seen by the whole family. Don’t miss it.