Save Goa! This thought has been a catch line for a many ever since the awakening of people in Goa arose against the dubious decisions of the men in power. We had people taking to streets. We had people gathered in the public corners of the cities and villagers shouting this slogan with placard in their hands. Nizache Goenkar Ami Bhaddeache Goenkar Tumi has this very thought running through the storyline and climax but as the name itself suggests it targets the so called ‘ghanttis’ migrating in Goa.
The script is in the non stop drama style with comedy not linked to the tiatr plot. The storyline is neither faithful to the title nor to the climax. The entire storyline is about a greedy politician who sacrifices his family life for the lust of power and in the bargain bring in migrants as vote bank. It is the politician who helps the migrants obtain the necessary documentations making them ‘Goans’. However the climax takes a turn as predicted and the focus shifts from the politician to the migrant.
The script has beautiful cantos set in good music and the composition has good lyrics and, moreover, perfect rhyming.
The comedy performance in the non stop drama form has clean and decent comedy. But the comedy has no connect to the main storyline. The tiatr features one of the best comedians of tiatr stage but this comedian too didn’t bother to get the comedy in the tiatr form. Nevertheless, the comedy is enjoyable and pleasing to watch and enjoy with the entire family.
The sets are a gamble with the audience giving mixed reactions. All scenes are depicted on the cloth curtain backdrops which reminded people of the olden days when tiatrs were presented on curtains. But then what about the advancement of technology and the popularization of other forms of stage sets and props? Isn’t it a pity that even a Minister who is accused of corruption cannot afford to have a decent sofa sitting in his sophisticated bungalow as claimed in the script?
The band is brought up on stage and placed on a raised platform. The traditional audience can’t accept this change as with this novelty in the sets, there are ‘choir singing Goencho Awaz finalists’ as singers who are only contented with crooning.
The tiatr features a good set of artistes. Eleuterio D’Costa is too good as the politician. Dolla Mascarenhas gives another award winning performance as the Minister’s wife. Rony is great as the Minister’s Personal Attendant. Franky is back after a sabbatical of years and shows class in his acting. Meni Mario is great in a cameo. In the comedy section, the superstar of Konkani tiatr and films, John D’Silva is too great. He has the good support of the upcoming comedian Bladwin and the seasoned Marcos. Elaine is great as the migrants daughter, too hot to view once her name is changed. Vitorino too in the cameo of the landlord is inspiring.
The band led by Lenoy Gomindes is great. The introduction and interludes are played by the brass band that includes a thrombone. During the singing the keyboard is used. There are superstars of the Goencho Awaz fame including our sensational Cielda Pereira. But alas their singing was reduced to crooning and shouting and with the accompanied music trying to compete for supremacy the beauty of the lyrics was lost and totally incomprehensible. The face saving was the solo by Franky, and the crowd favourite Olga whose solo and duet rendition with her hubby Anil Pednekar received encores. Meni Mario’s solo was truly in style. The audience like new melodies and different beats but when every song is sung in the same Pop/Rock beat with no waltz dekhnni or march beats, the same audience gets bored is a lesson on display at this tiatr. Getting an additional sound in the auditorium is a welcome sign but The Sound Engineer should do a test of sound and should not aim at rendering the audience deaf with the deafening sound.
The direction was good and the best use was made of all resources. The tiatr is a good performance to watch. A good entertainment too.