Thursday 26 May 2022

Honest Tiatr review: FOKANNAM: Fooling the fooler

Tiatrs have restarted after a 19-month break, and audiences have started cautiously returning to watch their favourite actors and actresses. Our review team sets out once again to do a microscopic analysis of the various segments of tiatrs. It is our constant endeavour to be honest to our readers, and give a fair portrayal of every tiatr reviewed by our team without any extravagant biases or unfair criticisms. We hope directors, producers, actors and other support staff take these reviews in the true spirit and professionalism. It will be our constant endeavour to take tiatrs to greater heights.

Melba Vas, A V Fernandes, S Haldankar (Tiatr Mogi) | OCTOBER 23, 2021, 08:46 PM IST
Honest Tiatr review: FOKANNAM: Fooling the fooler

Story

This tiatr has a unique concept: having fun! A young girl is all out to have fun. Her parents are concerned and warn her of the consequences but she is out to enjoy life making fun and playing pranks with people at times in disguise. The worst prank is to walk out of the engagement at the eleventh hour saying she did not love him but only played with his feelings for fun! Her fiancé cannot bear the betrayal and takes it to heart and falls prey to the bottle. 

The second half sees the reversal of fortunes. Will she succeed in her plans to keep on fooling? Will karma play its role and give her a taste of her making? This tiatr by a relatively new director has a lot to offer to the taste buds of the audience.


Script

The script has a good depth. It has good thought in the dialogues. The dialogues are meaningful and thought-provoking. The ‘cantos’ are mesmerizing, especially the one where the dejected lover reacts to the ‘canto’ melodiously sung in the background which is a new feat taken from the competition tiatrs. The only shortcoming in the script is the use of the word ‘revenge’ to justify the stubbornness of the girl when all through the tiatr it is shown as actions of the fun-loving girl which is well justified. 


Acting

The tiatr has a talented team of tiatrists acting and all combined give a great performance. Offie is the fun-loving girl who plays her heart out to the audience. Francisco is great as the dejected lover. He surely has a long innings to play in the tiatr arena. Justin de Sanguem and Angela Moraes are convincing as the parents. They are very natural in their dialogue delivery. Sally is at his usual best with Aveena and Rafael de Margao handling the comedy overtures. Rafael is very convincing as the non-Goan Bhumiputra. A young artiste in a dual role, of a deceiving lover in the introduction and then as the fiancé of the fun-loving girl was, however, over-acting and needs some training on acting naturally. Special mention needs to be made of another female, who attempts suicide in the beginning, as a prospect for the tiatr of tomorrow. This young girl has everything in her to be a shining star in the tiatr firmament.  


Music

The band did not rehearse their parts well but Xavier Paklo the drummer won the day for them. Solos by Cajetan de Cacora, Tony de Ribandar, Evaristo de Arambol and two new girls were great. The lack of variety songs, i.e duets trios duos in interaction are the only drawback of the tiatr. 


Comedy

The comedy of the tiatr has no link to the main story. Hence the form of presentation is neither of a tiatr nor of a non-stop drama. The comedy punches are good with loud laughing moments. Sally Aveena Netto and Rafael combine well to give a good session of decent laughing pills. Netto, in particular, is very natural and his punches too are well-timed. 


Backstage

The sets are well designed but the lack of furniture does not augur well. There is richness in the sets but having plastic chairs in the auditorium is an eyesore. The lights are effective and the background score was punchy. The make-up of the artistes too barring one or two was appropriate.


Direction

There is a little direction visible in the tiatr, but more work needs to be done in this regard. Mics are in the auditorium to amplify the sound; the artistes need not come to the mike for every dialogue. The artistes being seasoned and talented saved the day for the director. 

Once again, watching the tiatr, a question is raised and discussed in the audience. What is the form of presentation? Does the writer/director know the essence of the tiatr? Is it not the duty of the Tiatr Academy of Goa to look into this aspect? Is the Tiatr Academy President and Vice President and the Council Members there in the Academy only to receive their salary and perks without contributing to tiatr? A thorough and conscientious thought in this regard is the cry of the day!



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