Prince Jacob’s 75th production, Sant Padre Pio, is a fine presentation about the saintly life of Padre Pio, a missionary priest who received the ‘stigmata’. He was the second saint to receive the stigmata, the first being St Francis of Assisi.
In this unique presentation, there’s a lot of creativity and depth, with some mesmerising scenes to enjoy. His teenage years, youthful life and the temptations during his journey as a religious priest and the miracles that followed have been well portrayed on stage.
There’s a scene where Grazio (Baptist) and Maria (Valency) are in conversation with each other. The former later heads to the fields in order to sustain the family.
A little later, the couple’s son Francisco (Melbon) comes rushing, complaining about a dog attacking him. But, his mother, Maria, shares a piece of advice to fight against the evil.
Francisco suddenly expresses his desire to become a priest. His mother shares that thought with her husband. There’s initial reluctance, followed by the consideration of going abroad to weather the challenges.
As a youth, Francisco (Elvis Mascarenhas) makes his way to the religious house. He is welcomed by Padre Camilo (Jacinto) and Padre Agostinho (Luciano). As he accepts and wears the religious garments, Grazio and Maria are filled with joy.
Then, the life of Padre Pio in the monastery follows, with the other members of the community. The tribulations and sufferings faced by Padre Pio are highlighted in the tiatr.
The miracles of Padr Pio, when still alive, and the stigmata are the climaxes of the drama.
BEHIND THE SCENES
Apart from good performances by all the artistes, enhanced by impeccable costumes of that era, there’s flawless execution of Padre Pio floating in the air. The shadow acts in one of the scenes leaves the audience fascinated.
Each of the artistes, right from teen Melbon to Elvis Mascarenhas as youth, and then, Padre Pio executed by Anthony San, there is charm in every detail of the act.
As guardians, Baptist and Valency have played their roles to perfection. Briscila acts as a villain. Celeste and Evola extend good support to the main cast.
As friars in the monastery, Jacinto and Luciano as priests, and Prince Jacob and Kenny as brothers are entertaining. Comedy is interwoven in the main narrative to create the natural flow, while the humour is decent.
Apart from good performances by all the artistes, enhanced by impeccable costumes of that era, there’s flawless execution of Padre Pio floating in the air.
The concluding scene looked a bit abrupt with the scene showing Padr Pio in the coffin. If the death of Padre Pio was enacted, it would have definitely boosted the drama.
The opening song is rendered by Anthony San in his melodious voice. There are decent songs from Avers Pereira, Ave and Prince Jacob. Other songs come from Melbon and Valency; Boni, Baptist and Avers; Ave and Boni Alvin; Elvis and Briscila; and Evola, Baptist, Celeste and Valency.
A comedy song by Prince Jacob and Evola receives an encore. The director has made a conscious effort to exclude political songs, ensuring the focus remains on the religious theme of the presentation.
The band offstage comprises Seby Moraes (trumpet), Mariano (saxophone), Joel (keyboard), Auben (bass) and Neves (drums). The stage sets have been done by Deepak Chari, while lights have been handled by Tony.
The tiatr, Sant Padre Pio, is definitely a must-watch for every family, and especially children.
Prince Jacob’s tiatr, Sant Padre Pio, will be staged at Ravindra Bhavan, Margao, on November 30, 2024 at 3.30 pm.