Wednesday, August 6, 2008


By Cynthia Gomes James
[April 17 is being marked in Goa as *tiatr day*]

Take a hot social issue. Blend it into a plot with fair measures of
romance, harsh injustice, sensational plot twists, sudden illnesses,
shocking deaths, bawdy comedy routines, crime and retribution, and about
15 songs. Remember to include a rousing patriotic song about Goa. Be sure
to throw in a wicked mother-in-law and two daughters-in-law: one devious,
and the other docile, plus a poor virtuous widow, a villainous rich man, a
hilariously dimwitted domestic servant or country cousin, and a pious
parish priest.

Pick a cast of dramatic actors who can carry a tune, and comedians with a
flair for slapstick and credible cross-dressing. Stir in a Konkani script
peppered with flowery metaphors, broad innuendoes and show stopping jokes.
Mix in melodramatic acting, vibrant sets, costumes in the latest fashions,
and a live orchestra. Top with a title that is bold and direct. Voila!
You have a recipe for a tiatr: the medium of folk theatre that is one of
the most savoury and enjoyable tidbits of popular Goan culture.

Konkani tiatr made its debut on April 17, 1892 with the staging of
"Italian Bhurgo" at the New Alfred Theatre (presently the Police
Commissioner's Office) in south Bombay. It was directed by Constancio
Lucasinho Caridade Rebeiro from Assagao, and had an all male cast of five
actors who played nine different roles.

Due to then prevalent social taboos, women did not venture onto the stage,
and male actors did the honours. The first actress to perform in a tiatr
was Regina Fernandes who made her maiden appearance in the year 1904.
Incidentally, Regina Fernandes was the wife of Joao Agostinho Fernandes,
who wrote the first original tiatr script for "Sundori Cavelchi" in 1895,
and is remembered as the father of Goan tiatr. In the 112 years since
"Italian Bhurgo", Konkani tiatr has established itself via amateur
endeavours in the villages of Goa, as well as through professional
presentations by tiatr troupes in packed auditoriums in Goa, Bombay,
Mangalore, the UAE, Kuwait, and the UK.

The word tiatr is one of many Portuguese words imported into Konkani
usage, and literally means theatre or loosely, a play. The art form of
tiatr that was born in Bombay, evolved from the folk art forms of zagor
and khell, which were less developed but popular forms of drama in Goa. A
traditional tiatr consists of six to seven acts known as pordhe
(curtains), each about fifteen to twenty minutes long. These acts contain
songs called cantos, which are related to the story and flow in and out of
the spoken dialogue.

In between the pordhe are inserted two or three songs called cantaras,
performed in front of the main curtain. The cantaras do not always
pertain to the story, but are a means of preventing boredom, providing
comic relief and time for the changing of sets, costumes and makeup. Often
these cantaras are used to deliver social messages or satirical asides on
current events that may not fit into the storyline of the play.

My enjoyment of Konkani tiatr began when I was a little girl growing up
in a nook of south Bombay that had a large Goan population. I remember
many a Sunday evening that my parents, neighbours and I spent in the
auditorium of St. Mary's High School in Mazagaon, being regaled by the
sizzling hit tiatr of the season.

The excitement would begin a few Sundays earlier outside local churches,
when the promoters would distribute colourful playbills to the faithful,
after Mass. In Goa, the pamphlets were, and still are distributed in a
more theatrical fashion.

Pickup trucks armed with loudspeakers clatter through little towns,
blaring popular Konkani music and chotrai (announcements) about the
forthcoming tiatr, while scattering a wake of multi-coloured flyers that
tease the eager hands of the children chasing behind.

After one grabbed a playbill, the ritual of assessing the entertainment
quotient of the promised fare would begin. The first clue would come from
the name of the tiatr: names like "Pangddo" and "Divorce" left one in
little doubt as to the theme of the drama.

Then fans would look for the names of their favourite tiatrists, some as
common place as Remy Colaco and Saby Fernandes, and others as quirky as
Bab (little boy) Peter, who you should know was a grown man then, and
Prince Jacob, whose claims to royalty are entirely self assumed. Other
stage name peculiarities of the Konkani stage included the practice of
abbreviating one's middle name or last name as in Betty Naz, Betty Ferns,
Minguel Rod, Alfred Rose, and Chris Perry, and also the habit of using
one's first initial and a last name, as in C. Alvares and H. Britton,
perhaps in the interests of privacy or marketing.

There were a few artistes who went by just their first names, like
Antonette, Ophelia, and the divine Lorna. Of interest to discerning tiatr
aficionados was the identity of the director, who most often is also the

A tiatr directed by Prem Kumar was sure to have high drama, while one
directed by M. Boyer would definitely have zany comedy routines. Finally,
for many of us who love tiatr just for the hilarious antics, the comedians
in the cast often became the deciding factor. Comic actors like the
unforgettable Souza Ferrao, whose ever changing on-stage persona won him
the title "Man of a Thousand Faces", Jacinto Vaz and Anthony Mendes
brought droves of people to concert halls in their heyday, and are legends

I must confess that my favourites were always the comedians.

Once the decision was made to go to the tiatr, one had to make a trip to
Jack of All Stalls in Byculla to purchase the tickets, and procuring them
gave the next few weeks a warm glow of anticipation. We would find out
which of our friends and neighbours were going, and plan for the big night

Once that Sunday evening came, it would be quite a sight at the bus stops
and taxi stands in Mazagaon and the surrounding areas, where you would
see gaggles of sharply dressed tiatr fans waiting to be transported to St.
Mary's High School. Depending on the size of the motley group, the bus
ride would become an opportunity for Goenkars to catch up with the latest
news of engagements, weddings, births, deaths, parish priests, medical
ailments, servant problems, the house in Goa, and children leaving their
nests for far off shores.

Occasionally one would catch a snippet of the latest scandal in the
neighbourhood, or even a brazen attempt at matchmaking for a nice Goan
girl or boy. This incidental socializing would continue well after the
bus ride ended, into the line for admission to the auditorium, and paused
only when we heard the first bell.

Ah, who could then resist the call to take our seats? The crowd of people
ascending the four flights of wide sweeping stairs of St. Mary's High
School would be roused to make it to the top floor and enter the theatre

One last attempt to buy a snack at the concession counter, and then we
would make our way to our seats, in no rush, as we knew from experience
that tiatrs rarely started at the scheduled time. While waiting in our
plush, red upholstered seats for the curtains to open, the excitement
would build up with the band playing catchy tunes, as other patrons found
their seats and the hall slowly filled up. The melodies of those fabulous
live orchestras still swirl fondly in my memory.

Finally, after the ringing of the third warning bell, the moment would
arrive when those heavy burgundy velvet curtains would part and the
opening singers would appear on stage. From then on, the tiatr would weave
its spell on the audience as we were alternately cajoled and heaved into
the trials, tribulations, antics, and adventures of the characters on

As the story unfolded, the audience left the actors in little doubt of
their reactions. These expressions ranged from appreciative whistles,
applause, laughter and demands for encores, to openly derisive catcalls,
directorial comments and shouts of "woosh" which could quickly fill the
auditorium. Many a hapless artiste has had to cut short a song or a speech
that did not go down well with a difficult audience, and many a favourite
has had to sing himself or herself hoarse from responding to repeated
demands for encores.

The intermission would usually be timed just as the plot reached a
cliffhanger or a stunning twist, leaving the audience eager to see more.
When the story finally came to a climax, the final scene would ensure
that the good guys earned their long overdue happy endings and that the
bad guys got the justice they deserved. As the tiatr ended with a closing
song by the cast, the audience would bid a wistful farewell and then make
a noisy exit as everyone voiced their opinions of the show.

As I look back now, I am grateful that I had the opportunity and the
inclination to learn my mother tongue, even if it was just
conversational. I learnt enough from my parents, grandparents and
neighbours in Bombay and Goa to enjoy practically every nuance of a tiatr.

Sadly, very few of my Goan friends at school or college expressed an
interest in attending tiatrs, mainly because they could not speak or
understand Konkani. While I was a student at St. Xavier's College in
Bombay, I was struck by my friends from various ethnic groups, who spoke
English as well as their mother tongues fluently.

It is sad that there are so many misguided Goans who have had the
exposure to Konkani, but due to a twisted inferiority complex, resist
learning it, and proclaim quite proudly that they don't speak Konkani.
Over the last fourteen years that I have lived in America, I have met
highly educated people from other countries, but I have never met any who
were ashamed to speak their mother tongue, whether it was Swedish or

For some reason, many educated Goans have the wrong assumption that if you
speak Konkani fluently, it means that you or your parents are uneducated,
or don't speak English, and so they willfully reject their own mother
tongue. But I digress.

Tiatr has never pretended to entice pseudo intellectuals, and you are
warned that a tiatr will never try to explore the meaning of life and
human existence. Instead, like folk theatre all over the world, it holds a
mirror up to society and shows us reflections of real people and the real
issues they encounter in their daily lives. And yes, tiatr will often
provide simplistic solutions to complex social problems, but it is after
all, like other forms of entertainment, a vehicle of escapism, and we are
all invited to enjoy the ride.

I have not lived in India for a while now, but I try to stay updated on
the current happenings in Goa's political and cultural milieu. On my
visits to India, I try to catch a tiatr, whenever possible. It appears
that there are many new faces on the Konkani stage and it is encouraging
to know that the medium still attracts fresh talent.

It is equally heartening to hear about legendary tiatr greats like Joao
Agostinho Fernandes and others receiving due recognition and accolades
from the tiatr community, as well as from the state's lawmakers. The
performing arts community is testing the waters further with experimental
tiatrs including Hindu and Catholic actors.

The themes of the concerts have progressed over the years, mostly
imitating life. Titles like "Bhangar Tuka Dilem" and "Vadoll" reflect the
issues that are prevalent among the Goan community today. Audiences who
were once stereotyped as backcountry housewives, domestic servants and
peasants, now include educated professionals.

Tiatr troupes now travel to countries like the UAE, Kuwait and the UK to
bring a touch of home to expatriate Goans there. Tiatr has also received
well-earned recognition as a popular art form from Goa's distinguished
Kala Academy, and has spawned various competitive events that keep the art
form alive. Today, there is a trend towards "non-stop khell" tiatrs which
omit the cantaras between acts, and that is hopefully a sign of audiences
wanting a choice between different variations of the tiatr art form.

As times change, and tiatrs keep pace with the shifting sands of Goa's
sociological landscape, there is hope that the medium will continue to be
the pulse of the people. In addition to our rich history, architecture,
folklore, music, dance, costumes, languages, cuisine, religious rituals,
and festivals, the art form of tiatr is yet another bright patch on Goa's
resplendent cultural quilt. May it never fade.

The writer is based in Texas, USA. She can be contacted via email. She
can be contacted via e-mail Cynthia.James

As archived by gaspar almeida

Somplelea Tiatristank Xrod’dhanjoli - John Gomes Kokoy

Somplelea Tiatristank Xrod’dhanjoli
- John Gomes Kokoy


Ek Mhan Kantorist Greg bhaxentlean mousike mhollear
mousikos sobdantlo vixexonn ani to khoinchei kolek
zanv kovita, nattok ani nach, kivam songitak ani vadan
kaddil’lea avaza khatir vapuddttale. Romkaramni, Greg
lokam koddlean songit usnnem ghetlem ani Latintlem
musica aslem tem Konknnint muzgaponn zalem. Eka
kallar, vhoddlea ani sumarachea muzgancheo balvaddeo
mhollear Igorjecheo xalla axil’leo – teo atam
zhollkonant. Lok- priya ani namnnechim songitkaram ani
kantoristam Bharot bhor Hindi cholchitram sobhoitat.
Amchea adlea kaim tiatristamni oslea balvaddeancho
boro faido kaddlo ani dekhunuch te songit xikle ani
tachea adharan nove-nove sur rochle ani aplim kantaram
surngailim. Solfam noko asleleamni ap-aplea bhejeancho
upeog kelo, karonn kosloi novo sur jikhun dhorpant te
borech laik axil’le. Thodde crooner bore, punn tanche
kodden novim ghoddpam vo gitam rochunk tank naxil’li.
Oslea mhan kantoristam modlo amcho ek somplolo
tiatrist mhollear: CARMO PIEDADE RODRIGUES.

Amam Goenkarank songitachem pixem laglolem asa ani
dekunuch zolmak thavn moro porian ami hea bolladik
hotiaracho upeog kortanv. Songit mhollear ‘sonvsarik
othmik bhas’ hem konnacheanuch visrunk zaina.
Kerollantlea Divine Retreat Centre hatunt nnov
satolleancho retir kortana, ami thoim songitacho
kitlea toramni vapor kortat tem khas dolleamni
pollelem ani kanamni aikolem. Jin’sam bhasamni
(Inglez, Moratthi, Hindi, Telugu, Tamil, Malayalam ani
Konkni) zovoll zovoll xembor odhikuch bhokti gitam ami
aikolim, hem zalench; tea bhair songitachea adharan
gorvam-mhosranchem dud vaddovpant adhar zata ani
zhaddam sud’dam songitachea nadar borim follam-fulam
ditat, hem-i pollevn kaddlem.

hachea avazan A.R.Souza Ferrao chea onttancher ami
aikolam. He ghoddnuke udexim tea cholchitrak loklok
choddlo hem konnacheanuch bason vocho nezo. Oxem
sangtat ki tem rikordd korche adim, onek gavpeanche
talle topaslole mhunn ani akhrek CARMOcho avaz eog’eo
oso mell’llo mhunn.

CARMO, Osollnnechea Orelant Julaiache 16ver 1939 vorsa
zolmolo Agostache 13ver, 1975 vorsa, to Mumboint
somplo. Tacho nimanno haves ballgun, Osollnneant tache
kuddicher xevottache sonvskar korpant aile. Tachem
pret ghorantlem bhair kaddttana, muzgamni jen’na
tannem fank zoddil’lea OPINION POLL gitacho sur
sovkasaien vazoilo, ten’na hajir axil’lea soiream ani
ixtt-mitranchea dolleantlean ghosghoxit dukam
vanvtalim. Tachea mornnan, Maria-k ghorkar ani eklech
dhuvek bapui nam zalo, Jennifer, tacho bhavui bi ek
tiatrist ani sodheak Kuwait asta.

Survek, CARMO Inglezintlean logna dobajeank ani
bhovxik nachank gaitalo. Tacho kherit ek nog mhollear
torekvar Konknni lok-gitanchi bhoros (Ami chedde,
bhangra gulle.., Chol nachum-ia, vazoi tujem toblem,
adi, adi). Ten’na to barik-sarik AVC-int tiatramni
nhestalo. Vevsaik Konknni machier poilem pavl tannem
Bhangwaddi rongbhuincher dovorlem. The Goan Dramatic
Group hannim ek ugtti spordha addail’li zantunt xoukin
toxech vevsaik gavpi vantto ghetale. VOL hea gita
udexim CARMOn poilem inam’ melloilem.

Hea vhoddlea zoitan to, C. Alvares, Robin Vaz, Alfred
Rose, Jacint Vaz, John Claro, Jephsis Hitler, Kokoy
ani sabar dusrea digdorspeanchea tiatramni gitam ani
sovongam korun, Goenkaram modlo Pat Boone koso
chokmoklo. Ek sarkhim dha vorsam tannem Konknni machi
gazoili. CARMO, Saxttintlea fanki songitkar,
Chinchonnecho somplolo Carlito Rodrigues hachea Radio
Serenaders ani Vell’lechea Josinho mestrichea AVC Pops
hea donui pongddank gavun, borich namna zoddunk

Tiatristponnant astana, CARMOn he tiatr machier
PADRICHO GHUTT (jidik poddon ekech ratiam modem
FAVO (nimanne tin tiatr rochpi hanvuch axil’lom).
mhonnlelim gitam borinch gazlim. Carmo-Anita hanchem
zoddpem eka kallar borench chokmoktalem ani tanchea
zodd-gitancho (zoxim: PARCEL RAKHO & KOREZM)
tiatr-pollennar azun ugddas kortat. Punn Opinion Poll
hea gitant mat tannem aplo khoro jadu dakholl kelo.
Tannem gaileleam modlem sogleam von bes borem git
khoinchem? Oso ami vichar kortoch, to taboddtob zabab
ditalo: Poilem – OPINION POLL, dusrem – OPINION POLL
ani tisrem – OPINION POLL. Hangasor, mhaka spoxtt
sangin dista ki: Kitloi avgodd sur jikhun dhorpant ani
punzavpant CARMOk lagtolo anik dusro tiatrist
naxil’lo: Goroz ten’na taka gitam ghoddun divpak mhaka
umed ani khuxalkai bhogtali ani unnem odhik 25 tori
novim gitam hanvem tache svadin kel’lim. Moro sor, to
mhaka dhin’vaxi ravlolo.

CARMO, zorui tiatr machier mhojea von fattlo, torui
mhaka boroch lagim aslo. Amche sobhav, gunn
ek-sarkhele – mat tori veglleponn naxil’lem mhollear
zatalem. Svotontrtaiek axel’le ami, amchench khorem

Atam ek lhan-xi gozal. 1965 vorsantlea Otumbrant,
Mumboi sakun hanvem Goeam ievpak tharail’lem. Hanv
logni vorgant proves korcho axil’lom. CARMO, Bori
Bunder (V.T.) ixttixnar mhaka pavounk ail’lo. Reil
gaddien suttpachi xitti maril’li. Torui CARMO
ag-ghaddientuch axil’lo. Oin vellar, apunnui Goeam
ievpak raji zal’lo. Hanvem ani Mathilda-n 31.10.1965
tarkher eka-mekak logn-sonvskar dil’lo. Ami Goeant
pavlele tea disak thavn logna dis meren, soglli
maddavoll korpant CARMOn adar ani sohokar dil’lo, hem
mhojean visrunk zaina.

CARMO, zolman gorib zalearui, dekhin songit mogi ani
Devachi kurpa axil’lo utorlo. Pat Boone – ho mukutt
taka poripurnn sobtalo. Spoxtt disnnari ani thav
lagnnari bhitorli sfurti taka iontram fuddem vhortali
ani tulla korum nezo toslea sulakiponnak pavoitali,
VOL, OPINION POLL ani NACH ATANCHE hea tinui gitancher
tiatr ani film pollennar itle vegim visor ghalit oxem
mhaka zalear disona.

Aplo fuddar rosroxit korche khatir to Kuwait gelo. Ani
ekdam thoim pavtokuch tachi bholaiki bigoddli.
Bharotant portolea uprant tachea mendvachem operasanv
kelem. Tem folladik zal’lem ani to Kuwait desant
portolo. Anikui gondoll zavn, CARMOk novean Mumboi
haddlo ani okosmat Bombay Hospitalant tannem prann
soddlo, 13.08.1975. To somptokuch, 1976 vorsantlea Mai
mhoineanche 9 tarkher, B. Salcete hannem borovn
digdorxit kel’lea GHATKI IXTT tiatrant, Voddy-Kunkolle
ratchea 10.00 vaztam PAT BOONE hem kantar hanvem
tachea ugddasak gailolem – zaka lagon mhaka “Boro
kantorist” mhunn sorgest Evagrio Jorge hanchea
hatantlean inam’ favo zal’lem.

CARMO ROD kosleim sovong taddak uddoitalo – tem magir
mogeachem, virachem, kholnaikachem, fokannerachem,
zantteachem vo mhatareachem pasun zanv. Gitam ghoddunk
vo tiatr borounk tache kodden zomlena zait, punn mhan
gaiok ani kolakar mhunn ami taka chepem kaddtanv.
Jephsis Hitler hachea BHAV ANI ZAV tiatrant tannem
aplea khoddegant bhumikank ani rosroxit avazak nimanno
adeus kel’lo.

Copyright 2004 Gulab.

Monday, August 4, 2008

Tiatrists in pictures - can you identify them?

CARMO ROD, Accredited Singer

GOA POST - THEATRE /ART 17-23 Nov. 1995 (Page 8)


CARMO ROD, Accredited Singer

By John Gomes (Kokoy)

The coupling of Carmo Rod’s voice in the song ‘Nach Atanche’ with Souza Ferrao’s lipsync was a serendipitous occurrence that lent luster to Konkani feature film ‘Nirmonn’.

Carmo was born at Orel, Assolna (Salcette) in July 16, 1939 and was baptized as Carmo Piedade Rodrigues. He died on August 13, 1975 in Bombay and as per his last wish, the body was flown to Goa for the funeral to be held at Assolna which was well attended. Mourners did shed tears when the band in attendance played that piece of music on which the everlasting song ‘Opinion Poll’ was based. He left behind his wife Maria and a daughter. His brother, Jennifer Rod, is also a tiatrist and presently based in Kuwait.

Carmo made his dramatic entry (prior to that he was already an established crooner singing English numbers and acting in playlets/concerts in and around A-V-C on the Konkani stage at Princess Theatre, Bangwadi when the Goan Dramatic Group had organized an open signing competition. Both, amateurs as well as professionals were in the fray. Carmo won the contest defeating one and all prominent vocalists hands down, with a song on the eminence of ‘vol’ (a pair of dress sheets worn by our women).

This thumping success paved him the way to appear, act and sing in C.Alvares, Robin Vaz, Alfred Rose, Jacint Vaz, John Claro (who could be spotted on the day of Carmo’s funeral), Jephsis Hitler’s and other countless dramas over a decade. Side by side, he was crooning for Salcette’s then topmost band Radio Serenades led by the renowned maestro, Carlito Rodrigues from Chinchinim followed by another upcoming band AVC Pops.

During his tiatrist life, he staged and directed following dramas: Somdiran, Africa, Avoichi As, Devacho Hukum-Padricho Ghutt (completed overnight), Girestkaiek Lobdon and Tegankui Faxi Favo – the last three were this writer’s creations. Opinion Poll, Independence, Bhangarachem Xit, Xikop Gorjechem, Barlon Brando and Voni-Deor are some popular songs rendered by this accredited singer.

It may be noted that Opinion Poll was ably composed by late Phillip Antao (ex-footballer and referee from Chinchinim) based on original tune by M.Boyer. On this very catchy and legendary tune, we could hear as many as half-dozen songs composed and sung by M.Dod, Joffy de Majorda and others. As Carmo was very fast in catching and picking up any new and even complicated tune, I gifted a dozen compositions of my own to him. I was always delighted to compose songs for him for which he was ever grateful.

Carmo, 23 years my junio, became specially close to me. We were perhaps drawn to each other by the temperamental similiarities between us: the same internal drive to get things done, the same air of independence and the same imperiousness. In October 1965 as I was coming down from Bombay to Goa to be betrothed, Carmo had come to Bombay V.T. to see me off. Emotionally excited, he hugged and kissed me as the train was whistling out. In the bargain, suddenly he decided to accompany me. He was a great source of help and cooperation until I tied the marriage knot on 31-10-1965.

Carmo was born low, but became an opitome to social graces. The sobriquet, Pat Boone of the Konkani stage, deservedly stuck on him. His obvious and discernible inner inspiration propelled him to unmatched levels of excellence in Vol, Opinion Poll and Nach Atanche – the immortal songs Goans cannot afford to forget.

He migrated to Kwuait in search of better pasture. Once in the Sheikhdom, Carmo fell sick and had to come back to India to undergo a brain operation in Bombay. The operation was successful and he happily went back to Kuwait – only to return soon with further complications. He breathed his last in Bombay Hospital (where Springman of the stage – Anthony Mendes also died on 21-3-1964). As a close and bossom friend, I gave a sorrowful song on 15-8-1975 in B.Salcette’s tiatr at Cuncolim, eulogizing his singing qualities.

Carmo Rod displayed his acting talents in varied roles (lover, hero, villain, comedian, old man, landlord, a lady, etcetra). He was neither a composer nor a playwright, but he was definitely a great singer and actor who could be vouched for. He was last seen in Jephsis Hitler’s Bhav ani Zav.

------------------ from the archives of www.goa-world ------------------ courtesy: Jennifer Rod -----------------------

Junifer Rodrigues (Assolna)

(Popularly known as JENNIFER ROD)

Way back in 1964, Junifer Rodrigues started his Konkani stage career by winning two competitions - one with Bab Andrew in a drama "Zalach Paije" staged by Bernand de Aldona and the second with Bab Peter in Alfred Rose's Drama in Mumbai at the Theatre Hall P.T. Bhangwady, Dhobitalao. From there on, he acted in several dramas of Prem Kumar, Alfred Rose, Valent Mascarenhas, Rom Tony among others.

His singing talent was first noticed by Souza Ferrao, M. Boyer and Seby Coutinho (they used to train the students of Little Flower of Jesus High School in Princess Street, Marine Lines, Mumbai for the Annual School Functions). Upon finishing his graduation, his father gave him a choice of either pursuing dramatics or further continutation of his studies and he opted for the latter. However, he had to abandon his law studies and landed in Kuwait. In April 1974, he first acted in Alex Martin's drama "Rogtachi Axinad" and from then on there was no looking back. He staged several dramas of his late brother, Carmo Rod and helped many including Alexin de Maxem, Xavier Gomes, Benny de Colva, J.P. Parra, Rico Rod, etc. during 1974 to 1980.

Incidently it may be noted that this was the boom period in Kuwait as far as Konkani dramas/tiatrs were concerned. There was a record 6 dramas per year at an average.
Junifer Rodrigues has been actively associated with the local Goan clubs/associations and was the founder vice-president of the Goans Arts Circle, Kuwait. This body was instrumental and helped in raising funds for the Goa Cancer Hospital, along with Leopold Vaz.

A lover of sports and of football in particular, he was popularly known in Mumbai as a "Baccha Referee". This nick-name was given to him for being awarded his REFEERING BATCH at a young age of 20. He officiated several tournaments in Mumbai and Goa. He was a regular at The Cooperage, Cross Maidan, Xaverian Sports Complex and Karnataka Sporting Grounds specially the Inter-Collegiate and Schools Tournaments.

When the first Tournament was organized by the United Goans Centre in Kuwait, Junifer Rodrigues was the only qualified Goan referee at that time. In December 1980 at his residence in Salmiya, along with his mentor, the late Goan international referee, J.P. D'Mello and his Mumbai colleague A.E. D'Souza, he formed the Indian Football Referees Association (IFRA).

IFRA continues to this date to give yeomen services in the upliftment of football and refereeing standard among the Indian expatriates. The Indian community call upon him in organizing sports and cultural aspects from time to time.

- Researched by Goa-World Team (Gasper C. Almeida)

Wednesday, March 26, 2008



By: Daniel F. de Souza.

It’s Easter time once again. It’s time to break the long spell of fasting and abstinence. It’s also the time of the year in Goa when the Konkani stage gets ready for a new season and new releases. This Easter time is no exception though.With the exception of perhaps Rose Ferns and Menino de Bandar who are both continuing with their same shows viz ‘Maim Tuzo Upkari Hanv’ and ‘Taxi Driver’, all the other playwrights are getting set and giving final touches to their new ventures scheduled to go on stage at Easter time.

The showman of the Konkani stage Prince Jacob is going to bring forth something very colourful and enchanting with his new release ‘Rong’. The show was earlier released in Mumbai last month and has had a good response from Mumbaikars. MaRIO Menezes who takes prides in calling himself the ‘Director with continuous hits’ even though his show last season ‘Tumi Tumche Dolle Ugddat’ did not come anywhere close to his earlier known hits, has declared his new show a tiatr entitled ‘Ghorabeache Vantte’. Don’t be surprised if after the first two shows, you get to see an advertisement that loudly claims it as ‘Declared Hit’! A small piece of advice to my good friend MaRIO though…. he’s got to pay a little more attention to the comedy this time, for with the exit of Ambe and Agostinho his original pair of comedians, this department in his last show was found to be vulnerable.

John D’Silva the playwright known for his high standard script, is driving on a success wave last two seasons, and this time he has got to maintain the tempo and the lead. He is releasing his new tiatr ‘Ekvott’ with his original cast. But, the surprise inclusion is John’s youngest son Benhur Shaan who is taking a bow for the first time on konkani stage . Oh what a name that is! Let’s hope performance-wise he lives up to his name. The Prince of centuries Pascoal Rodrigues is out to tempt tiatr lovers this Easter season with his latest venture ‘Tallni’. Incidentally this is his 44th stage production. The dramatist pair of Anil-Olga is also releasing their new show this Easter season, ‘Ghavo Tuka Dukh Mhaka’ . The artist to be watched however is Fermino of the ‘Nagappa’ role fame. The earlier productions of this pair have had good runs and this show should obviously go a step further in all respects.

Cyril Almeida and Soccoro de Santa Cruz are releasing their joint venture ‘Koddu Soth’ which promises to give powerful songs and comedy. Comedian Ambe who is now wearing the crown of a playwright is releasing his new venture a tiatr entitled ‘Kallem Mazor’. Whether the ‘Black cat’ will bring him bigger and better luck this time, one cannot predict. But, I am sure Ambe is going through a stressful time on the eve of his release, with his mainstay artist Felcy still convalescing from a knee injury she suffered recently in a bus accident. We wish Ambe all the very best. I hope and pray Felcy makes a fast recovery and gets back to the stage as early as possible.

Comedian Agostinho, who had a dream run last season with his tiatr ‘Sir’ is coming up with his new venture ‘Police’ that is set for release on 23rd March. I really admire this man who has the presence of mind to bring forth interesting and contemporary plots in the plays he has produced so far. His title this time is surely a winning one and good enough to arouse curiosity thereby drawing crowds to the theatres. I want to share what a little bird told me recently, believe me, Agostinho is going to depict the ‘man-in-uniform’ in good light! The Policemen can breathe easy now. ‘Sun Tea Gharachi’ is the new show of Jr. Reagan schedule for release in early April. The director has roped in big names like Wilmix-Sharon, Osvy Viegas, Fatima, and Anthony San. Ives Tavares who has earlier given hits such as ‘Bhitorlea Monacho Munis’ and ‘Don tonndancho munis’ is now venturing out with yet another new tiatr with similar title ‘Dusreachem Padd ghalpi Munis’. The show goes on stage on 28th March. On Easter Sunday A.M. Productions is releasing ‘Duddvank Man Devak Okman’.

Comedians Domnic and Luis Bachchan are continuing with their show Rupem Bhangar Maginai’ till the month of May. So is the case with Rose Ferns too who has declared that his show ‘Maim Tuzo Upkari Hanv’ will run till May 2008. International Jet speed political singer William de Curtorim will make his presence strongly felt this season with his show ‘Panch Bailancho Ghorkar Bhurgeank Posta Serkar’ . The highlight of this show will be 4 hit political solos coming from William himself. ‘Anthony Sylvester’s traditional tiatr ‘Don’t worry Be Happy’ will also continue in the new season and go beyond the monsoons.

One playwright who is calculating his time to strike with his new release in style is none other than Mariano Fernandes, the most successful director last season. Known for his super-cast line-up and good morale stories, Mariano who is back from a long overseas tour to the Gulf is coming out in early June with his new tiatr ‘Sorg Sonvsar Ifern’!

The discerning tiatr lover has a wide choice to make his weekend pleasant beginning this Easter Sunday. Make your choice, and book your tickets in advance, but, please do not buy tickets in the black market. Say ‘no’ to black marketeering, say ‘yes’ to advance booking! Happy Easter and Happy viewing to you all.