OSLO PUTH: Honouring the Son

Melba Vas, A V Fernandes, S Haldankar (Tiatr Mogi) | NOVEMBER 06, 2021, 11:33 PM IST
OSLO PUTH: Honouring the Son


The tiatr is a family melodrama with a good storyline. A son is sandwiched between the demands of a wife and responsibilities towards his mother. Being a Portuguese passport holder and working in the United Kingdom, the wife plans to join her husband in the UK, alongwith their daughter leaving the aged mother behind in Goa to fend for herself. The son acknowledging the sacrifices of the mother is not ready to accept this demand of his wife. In this decision, he is well supported by his young daughter. How the wife manipulates the situation in hand along with her scheming uncle is an interesting part of the tiatr.


The script has a good depth. It has good thought in the dialogues. The dialogues are meaningful and thought-provoking. The ‘cantos’ are mesmerizing. The Writer has used philosophical language to justify the husband as well as the wife. He gives good logic behind the decisions which makes the script more convincing. There is little comedy as part of the tiatr plot too.


The tiatr has a talented team of tiatrists acting and all combined give a great performance. Victor as the Son puts his heart in the performance and steals the honours. Maria as the mother plays her role to perfection and when the daughter-in-law schemes against her, her naturality in reacting to the scheming moves, forces the audience to sympathise with the character. The daughter-in-law too gives in her best. Trindade as the scheming uncle adds colour to the performance. But the pick of the show is the young girl playing the role of the daughter who by her vivacious and bubbly performance steals the heart of the audience.    


The band is good. The cantos are well sung. The opening song needs more rehearsals. There are good solos by Peviola, Jr Reagan, Seby de Divar. An interactive trio by Seby de Divar, Alina Simoes and Peviola Dias is a paisa wasool song. There are interesting duos in choral style by Victor and Trindade. The other variety songs cannot be called tiatr songs as they wouldn’t fit in any categorized version.


Few comedy inuendos are linked to the main plot but the focus is laid on the non-stop style of comedy that has no link to the main storyline. The comedy has too much double meaning and explicit vulgar language which needs to be streamlined. Alina, Sally Brian and Richard combine well to give a good session of laughter. 


The sets are well designed but the use of plastic chairs and table does not augur well. However, the placement of a teapoy alongwith the chairs is at least one step ahead of the other tiatrs. The richness of the sets is impoverished with a lack of furniture but it is heartening to see the Director take a welcome step in this regard.  The lights are effective and the background score was punchy. The makeup of the artistes, barring one or two, was appropriate.


There is a little direction visible in the tiatr, but more work needs to be done in this regard. Mikes are in the auditorium to amplify the sound; the artistes need not come to the mike for every dialogue. 

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