I was a bit surprised that Brian Costa's review of Chuk Konnachi? and interview
with Marshal Fernandes came so late. We already had Silviano Barbosa's take (I
would not call it a review per se) of the tiatr. It was a feel-good piece and
knowing his uncomfortable position as husband of one of actors he could have
been restrained in giving his critical view.
I wish Brian had asked Marshal who was the playwright. That such an important
question was left out shows that Brian lacked professionalism in conducting an
interview.
I, among some, know who the playwright is and I can see only guess why Marshal
may have left the playwright's name out. If Marshal was asked the question, we
would have had the answer. Besides, we would also know how much of the play
was changed from the original. If the play was indeed significantly modified
(or adpated to Canadian audiences, as previous tiatrs were done), it would have
been right to say so and given the playwright's name.
On the other hand, perhaps modifying a tiatr to such a degree that it does
retain only part of its originality and then giving the playwright's name would
be injustice to the playwright. Perhaps, this is the dilemma Marshal faced. He
could still let the forum know what prevented him from doing so.
I must go along with both Silviano and Brian that the cast was good but I
differ to say that the performance of some was a notch or two lower than
others. Acting, in fact, sustained the play. In this context, I must say that I
am happy that Rhiza Gracias and Grace Almeida have matured well. I understand
Rhiza's role could not give her a bigger scope but I still feel she needs to
hone her dramatic skills a little better to be a forceful actor.
Grace has travelled a long way and her Konkani diction has improved
tremendously. She seemed in total control of her role. Her pivotal character
gave the play the zest and vitality that held it together.
Bonifilio is a new find. Though I found him short of skills, he carried himself
well. A character such as his called for bursts of energy, which came out just
once or twice from Bonifilio. He seemed a born crier. He is bound to improve
with more such roles.
In sharp contrast, Yolanda's role as the wife was good. She was smooth and
showed no hesitation. Her experience helped her play her role flawlessly.
The comedic element kept the audience happy. I never saw so much pro-active
reactions in previous audiences. The character of the audience too has changed,
possibly with more Konkani-speaking Goans having migrated to Toronto in recent
years. Many were even laughing before the funny dialogues were finished.
Sera, as Consu, is another success story. Though I found her role did not
provide her with more scope than in Adeus, which I saw last year. I wish she
had a better match than Agnelo, as Mama. While Sera was vociferous and
enegetic, Agnelo was lumpish. Ummistakably though, Angelo's delivery and
command over the language was commendable.
Even Marshal's role as Leitao was low-key, which made me wonder if the original
script had such a role. On my enquiry, I was informed that the role was added
on. It seemed a noncentral role in the "sideshow" that it did not add much
spice to the overall effect of the comic episodes.
In a story that ran into cross-currents of love, betrayal and disunity, the
story did not just hinge on the errors made by the parents, more so by the
mother who was strong-willed and stubborn, but all the main characters.
As usual there is the final reunification blessed by none other than a priest.
A perfect Goan tale.
The tiatr history in Toronto has seen many episodes. Groups were formed and
later broken up for personal or for other reasons. What is good now is that
actors have become "free agents" and can provide their talents for any groups
or any person. That large number of people came out for the tiatr shows that
there is a demand. It is a a good sign that producers/directors are making
great efforts to improve the standard.
I hope I have "erred" on the right side.
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