Inclination towards vices, resulting from addiction can be dangerous to an individual, family and society, in general. Instead of reclining towards vices, virtues can lead to a harmonious life.
But quite often, a weakness in a human being empowers everything and he is dragged to a disastrous life. And, when it reaches the zenith, there’s no escape, but to face the consequences.
ABOUT THE TIATR
Comedian Richard’s tiatr, Ghov Khevta Jugar Bail Zata Fugar, running to houseful shows, is the tale of Henry (Ulhas Tari) and his better half, Amanda (Roma). Henry’s aged father, Succor (Pascoal Rodrigues), resides with the couple.
Being aware of his son’s involvement in gambling and addiction to different vices, Succor decides to send his only son abroad. The father has hopes that his son will mend his crooked ways and live a decent life.
Unfortunately, after landing in Kuwait, Henry gets involved with Skyla (Antonet de Maina), who does not hesitate to lure him by her looks; her sole intention being to spend lavishly all the hard-earned money of Henry.
Back home from Kuwait, Henry gets back to his old wretched life. He makes a trip to the casino and begins gambling there, thus wasting all the hard-earned money. For the money that he has, he thinks that he is the king and nobody can defeat him.
But, a day dawns in Henry’s life when he finds a competitor. Badshah (Ronny) from the north confronts him and is willing to give him a fight. The challenge is accepted by the two contenders, but Henry loses.
After losing all of his spouse’s gold to Badshah, Henry continues the challenge. As he has nothing in hand to fight against his opponent, he asks him to take away Amanda.
Now, will Badshah go away with Henry’s wife or will it be something in Henry’s favour? What is the punishment that awaits Henry in future? Check it out in the second half.
BEHIND THE ENTERTIANMENT
Tiatr, Ghov Khevta Jugar Bail Zata Fugar, has a story to relate, followed by an unpredictable ending. Normally tiatrs carry a happy or a sad ending. But, in this tiatr, a good dose of suspense leads to curiosity at the end.
Lead artistes, Ulhas Tari, Pascoal Rodrigues, Roma and Antonet de Maina, have showcased their talents to the maximum, thus demanding applause from the audience. Ronny, who makes a cameo, is the icing on the cake.
The other artistes on stage have played their respective roles to the content of the spectators.
For some rib-tickling comedy, there’s director-comedian, Richard, and his team of jokers, namely comedian Sally, Agnelo, Rizton, Myron and Princy. They carry the art of tickling the funny bone of the tiatr lovers.
But, it’s sad to note that in almost all the scenes, there are some who enjoy exposing their bodies. Does comedy mean mere exposure of the body and entertaining with just one piece of clothing? Are there no other techniques to bring in laughter?
Such acts need to be condemned by the audience. And, if encouraged, vulgarity will continue, thus destroying the sacredness of the stage and theatrical art.
A glance at the songs on stage, Joylita makes a bold entry to render the opening song. Her facial expressions and rendition is well accepted by the audience.
There are solos by Lawry Travasso, Pascoal Rodrigues, Rosario de Benaulim, Peter de Arambol, Junior Reagan, Roma and Myron.
Other songs added include those from Lawry and Joylita, Peter de Arambol and Rosario de Benaulim. A comedy solo by Myron and a quintet by Jr Reagan, Rizton, Richard, Myron and Vilber are well accepted by the spectators.
The band offstage comprises Nolvert on the trumpet, Nazareth on the saxophone, Trian on the bass, Arif on the keyboard and Tremson on the drums. Hats off to the entire team for soothing music, resulting in the best delivery by the singers.
Anthony de Ambaji handles the stage sets, while Dinesh takes care of the light effects. A keyboardist has also been roped in for the background music.
