Everything looks rosy when two lovebirds come together and share sweet nothings with each other.
But, after several years of courtship, and then the decision to unite in marriage, the reality of married life comes to the fore, thus making marital ties bitter and sour.
And in marriage, quite often, doubts between husband and wife play spoilsport and can easily end up destroying the union.
This is the message conveyed by Pal Soares in his newest tiatr, Ghov Bailam Modem.
If doubts can be uprooted through mutual understanding, then there are chances for healthy growth of the spouses, leading to the creation of another heaven on earth.
ABOUT THE TIATR
Joyel (Elvis) is a lawyer by profession and is in love with Shenol (Jones). Due to his continuous commitments in the court, there are always delays in their daily encounters in the garden.
Realizing that it might be a one-sided love, Shenol decides to call it quits. She decides to go her way, thus leaving Joyel to ponder about his future.
Shenol finally finds another suitor and ties the knot with Lester (Maverick), whose mom (Carmin) is enjoying a second marriage after the demise of her first husband.
Lester’s mom does not stay with him, and consequently, he does not receive that maternal love. Lack of motherly love pushes Lester to take up to vices.
After marriage, Shenol too fails to receive any love from Lester. Unable to bear the loneliness any longer, she approaches Joyel for legal advice.
Unfortunately, Shenol’s interaction and meetings with the lawyer are misunderstood by Lester, who begins to have doubts in his mind. He interprets it all in a different way.
Joyel’s involvement with Shenol was only to assist her and save her marriage. Will Lester understand the reality and accept Shenol? Or, will their marriage hit the rocks?
What prompts Joyel to acknowledge his mistake and return to Shenol? Will Shenol forgive Joyel and pave the way for a new beginning?
What follows next on stage is worth watching during the second half of the drama.
BEHIND THE SCENES
In the lead, Maverick and Jones have played their roles with ease and confidence. They have ample opportunities for better performances on the commercial stage.
Elvis and Carmin, although in two different characters, deliver well on stage with vast experience under their sleeves. Quixote D Cruz, also in two different roles, extends good support.
For laughter moments, there’s comedian Humbert, entertaining with Jelvy, Jaison and Flynon. The comic dose could have been more from the four comedians.
In the rendition section, Jelvy comes with the opening song, followed by solos from Lawry Travasso, Clint, Tony de Ribandar, Quixote D Cruz and Hillary. There are more songs from Clint and Jelvy, Anil and Olga as well.
A political solo from Olga was well accepted by the audience. Unfortunately, a duo, trio, quartet and choral went amiss in the drama. Entertainment via renditions was very little.
Musicians, led by Nolvert on the trumpet, and Agnelo Lobo (trumpet), Norman (keyboard), Cresendo (bass) Xavier de Moira (drums) were appealing to the ears.
The stage sets and light effects were handled by Anthony de Ambaji.