Willy Goes
The story begins with Alisha (Alisha Souza) being accosted by her boyfriend’s best friend, who subsequently tries to rape her. Her boyfriend Sandry (Sandry Fernandes) happens to be a minister’s son. Alisha hits him on the head with a flower pot in self-defence, but the injured assailant makes good his escape.

The following scene reveals that Alisha has been accused of murder, but is acquitted as it was in self-defence that Alisha killed her attacker. Alisha’s father Domnic (Domnic Fernandes) is heart broken as Alisha wants to join a convent and escape the subsequent social stigma.
So goes the story of the first tiatr ‘Montri’ staged at the just commenced 36th Tiatr Competition at Kala Academy.
The minister’s son Sandry labels Alisha a murderer, and refuses to marry her. Inspector Danny (Danny Cardozo) who was investigating Alisha’a case intervenes and tries to convince Sandry to marry Alisha. But all is in vain.
The story then twists to conclude that the minister (Hipolito Fernandes) is guilty of murdering his wife for insurance money and also Sandry’s friend. Sandry is reunited with Alisha and inspector Danny turns out to be Alisha’s long-lost brother.
The story has interesting twists, but somehow the pace of the act was a bit too slow and at times lacked drama and co-ordination. The stage movements could have been planned more effectively. However, the comedy by comedians Kanny, Sharmila and Jowel Caiado was effective to a large extent. The ‘cants’ were apt and well-rendered. Jowel also doubled as the havaldar who saved Danny’s life.
The best part of the tiatr were the songs. Almost all the solos, duets, duos, trio and quartet were melodious and thought-provoking.
Camilo Joao, Ave D’Souza and Rosario de Benaulim stole the show with their euphonious voices. The young boy Harsvaine and Micha rendered a heart-rending duet and so also Valency and Fedora blended their voices harmoniously to render a duet on the stigma of being a ‘tiklem’.
The only quartet by Mystica, Geovlin, Agnelo and Sebasteao Salvador Fernandes sang praise of the local MLA and even solicited votes. A well-rendered duet by Betty Alvares and Rosario de Benaulim highlighted the importance of treasuring family relationships. Adney’s kantar condemned singers who spoil the names of priests. The only comedy song in the tiatr was rendered by Kevin D’Mello.
‘Montri was written and directed by Sebasteao Salvador Fernandes and produced by Hipolito Fernandes on behalf of Konkani Kala Mogi, Carambolim. Lights were effectively executed by Vikas, while Johnny Afonso did a good job with the background music. Jacquelin Afonso coordinated the costumes while Mystica Cardoso designed the sets. Simorenco Goes handled the make-up. Music was provided by virtuoso Agnelo Dias.
Overall, the tiatr was clear enough to bring out the story but could have been better had the director worked more meticulously with the tempo and stage movements. Kantorist Camilo Joao deserves a special mention for his silky smooth voice and flawless renditions of songs.