Pascoal da Costa’s tiatr, Mummy-cho Boy Daddy-chem Girl, carries a good storyline relevant to today's families. Pampering of offspring by their guardians is often noticed in some families. And, that incorrect trend continues even after the children have settled down in marriage.
Each scene in this tiatr also carries a powerful message, unseen in other tiatrs. And so, the audience has something worthwhile to carry home after watching the show.
THE STORY
The story is about Bernard (Manuel de Orlim) and his daughter Nelisha (Daisy), on one hand. On the other hand, there is Mariam (Elsa Ferrao) and her son Austin (Vellington). Austin and Nelisha unite in marriage.
When Nelisha steps into Austin’s house, differences follow and there’s a big commotion. Since both are brought up by single parents, they are pampered resulting in less freedom in married life.
Austin’s godmother Cristine (Connie Rebello), his uncle Albert (Pascoal da Costa) along with his priest son, Fr Samuel (Caldino) all put up under the same roof. Austin being pampered by his mom is witnessed throughout. Mariam equally fails to respect the freedom of the newly wedded couple.
Criticism follows about the daughter-in-law by the mother-in-law. And, whenever Bernard decides to visit his daughter, he is always in favour of Nelisha.
One fine day, Austin has to leave his wife behind and go abroad. Nelisha assists Austin in packing his luggage, but the mother-in-law cannot stand it as she has come along doing odd jobs for her son.
Once Austin moves away from sight, Mariam begins to humiliate Nelisha. Unable to bear the insults and condemnation, Nelisha leaves the house and returns to her father.
After a while, news about Nelisha’s pregnancy comes to light. Will she save the unborn child in her womb? Or will she abort? Will the couple stand united in moments of turmoil or will they divide for life?
BEHIND THE SCENES
Manuel de Orlim and Elsa Ferrao have played the parents’ role with ease. But, both seem to raise their voices unnecessarily on stage.
Daisy and Vellington, as children of two different families, assist the main characters. Pascoal da Costa, Caldino and Clarence have extended good support equally. Pascoal da Costa and Clarence have some rational thoughts under their sleeve and they deliver them confidently. Caldino, as a missionary priest, is cool in his act and dialogues.
Comedian Kenny, Clemcy, Connie and Fatimo Carvalho come together as a comical quartet and make the audience laugh to their heart’s content.
As migrants, Clemcy and Fatimo are very natural and entertaining. The former artiste wins the hearts of the spectators with her dress code and dialogues.
A good number of songs carry powerful messages. Pascoal da Costa’s daughter, Valanka, steps on stage for the opening song. There is Erica with a solo for the audience. Two songs by Peter/Roshan are well accepted by the spectators and another two songs by Pascoal, Manuel de Orlim and Anyal is a tribute to late Philip de Orlim.
There are also two solos from Rons, Tanisha, Velroy, Clemcy Falcao, Violet and Abony. A song by Sweety and Clemcy focuses on light, invented by scientist Albert Einstein. Another song by Valanka, Clemcy, Abony and Sweety dwell on different professions.
Cristo on the first trumpet and Megan (second trumpet), Aldrich (drums), Jose (keyboard), Jose Dias (bass) have provided good music.
The stage has been worked upon by Anthony de Ambaji, and Luis has taken care of the lights.
