Minguel Rod's tiatrs cultivated the tiatr culture in Canada which has grown into a beautiful fruit-bearing tree. As in Goa, the Covid pandemic put a full stop on tiatr activities in Canada. The Konkani-speaking diaspora now awaits the staging of a new tiatr now that the restrictions imposed post-Covid have been lifted
He died in 1955 at the young age of 31, writing, directing and presenting 32 tiatrs besides singing over 300 songs some of which like ‘500 Maddanchi Son’nnam’ of the famous ‘Novoch Ga Tarvotti’ song is still our all-time favourite. The death of this tiatrist was a blow to the entire Konkani world with the Emisora de Goa, now All India Radio of the Prasar Bharati broadcasting a running commentary about the funeral procession by Allen Costa, with his songs played as a tribute for two hours, a rare honour given to a tiatrist. Eternal life begins after death and this great artiste found himself resurrected in a faraway land, Canada, 21 years after his death through a masterpiece of his work. Richard Fernandes brought to life the legendary tiatrist Minguel Rod, by staging his tiatr ‘Irmaum-achem Cazar’ which was directed and produced by him.
Silviano Barbosa, a noted writer belonging to a tiatrist family, who witnessed this tiatr says: “I was present for this First Tiatr in Canada. The Tiatr performance was good considering it was held in Canada with a few Goans around with a nominal theatrical experience. In this tiatr, a real-life Goan Priest performed the ‘Kazar’ on stage”.
Richard evaluated the organising of this first tiatr. He weighed the pros and cons, the ups and downs, the strengths and weaknesses, the do’s and don'ts; but overall the job satisfaction received by the director and actors. The tiatr received a good response from the people gathered and buoyed by the success of the tiatr penned by Minguel Rod, the following year another tiatr, ‘Ghorachem Kestaum’ written by Minguel Rod, was directed and produced by Richard Fernandes in 1977.
By this time a sizable group of Goans who were expatriates from East Africa had settled in Canada. The two tiatrs presented touched their hearts and some of these expatriates Frank D’Souza and his daughters Margaret and Delphine, Braz D’Cruz Frank Fernandes and Zulema D’Souza joined hands with Richard Fernandes and formed the group that was called The Goan Theatrical Group (GTG). Margaret D’Souza wrote the script in English which was then translated into Konkani and presented as a tiatr on the stage for the entertainment of the Konkani populace settled in Toronto Canada. This group had a long run and presented their own creations for around two decades. Alzirachem Sopon (1978); produced by Lina Remedios, Divors Matarponnar (1980); directed by Frank De Souza, Tegui Bailo, (1981); directed by Frank De Souza, Kalljidar Bhoinn (1982); directed by Frank De Souza, Peleachi Nosai (1983); directed by Errol Francis, Gupit Mog (1984); translated by Lynn Souza Marques and written & directed by Margaret De Souza, Atancho Teomp (1986); directed by Margaret De Souza, Konn Mhozo Pai (1987); translated by Maggie Francis and written & directed by Margaret De Souza, Ojeapanchi Bhett (1988); translated by Frank De Souza and written & directed by Margaret De Souza, Rateor (1990); translated by Frank De Souza and written & directed by Margaret De Souza, Doria Amchem Noxib (1995); translated by Maggie Francis and written & directed by Margaret De Souza were the tiatrs produced and presented by The Goan Theatrical Group.
Richard Fernandes promoted another group The Goan Konkani Troupe in 1989. This group consisted of Goans who migrated to Canada from Goa and Mumbai and some Goan expatriates from the Gulf. This group of Goans were rooted in Konkani and had hands-on experience with Goan tiatr having acted in tiatrs staged at the annual feasts of the chapel or church in their locality. Having witnessed and even acted in tiatrs, this group was conversant in the language and hence their presentations went a notch higher. The Goan Konkani Troupe even presented a tiatr in New Jersey.
The Goan Konkani Troupe presented Familichem Nissontton (1989) Adeus (1990); written & directed by Jr Menezes, Ekuch Rosto, (1991); written by M Boyer and directed by Jr Menezes, Adlea Tempar (1992); directed by Jr Menezes, Guntter (1994); directed by Jr Menezes, Budhvont (1996); written by Roseferns and directed by Jr Menezes, Adim Tem Atam Hem (1997); written by M Boyer and directed by Jr Menezes, Rinnkari (1998); directed by Jr Menezes, Bhurguim ani Bhangar (2000); directed by Jr Menezes. The Goan Konkani Group was later dissolved on March 15, 2006.
The other tiatrs presented in Toronto are: Amche Dolle (1999); directed by Marshal Fernandes, Kidd (2006); directed by Marshal Fernandes, Adeus (2007/2008); written & directed by Jr Menezes, Chuk Konnachi (2009) directed by Jr Menezes, Dukh (2010) directed by Jr Menezes, Kumsar (2011) written by Pascoal Rodrigues and directed by Joe Vaz, Jit(2013); written by Adolf Silveira and directed by Joe Vaz, To Teomp Uronk Nam (2013); directed by Jr Menezes, Gharachem Sukh (2014); written by Remmie Colaco and directed by Marshal Fernandes, Kochro (2015) written by Francis Furtado and directed by Joe Vaz, Sun (2016), directed by Marshal Fernandes, Anik Upai Naslo (2017) directed by Jr Menezes, Hem Assa Tem (2019) written by Anthony de Nuvem and directed by Marshal Fernandes.
Superintendent of Police, Sammy Tavares was the first Goan tiatrist to fly to Toronto Canada to stage his tiatr with a Goan professional cast. SP Sammy Tavares staged Police Officer in 2017 and Bhurguim Kiteak Somzonam in 2019.
Minguel Rod's tiatrs cultivated the tiatr culture in Canada which has grown into a beautiful fruit-bearing tree. As in Goa, the Covid pandemic put a full stop on tiatr activities in Canada. The Konkani-speaking diaspora now awaits the staging of a new tiatr now that the restrictions imposed post-Covid have been lifted.
Scripts of the tiatrs written by Minguel Rod are not available for study or research. It will be a great service to tiatr if any artiste having these scripts, gives them to us for preservation for posterity. This article is penned with inputs received from my friend Silviano Barbosa, with sincere thanks and gratitude to him.
