Prutha Goa

She describes herself as ‘nobody special’, saying, ‘I am simply me…Yasmeen.’ Yet Yasmeen Premji has achieved much in her life. This unassuming woman has rarely made herself known in the media though she is the wife of one of India’s leading businessmen, Azim Premji. Her husband may be chairman of the Wipro company and renowned for his philanthropy, but Ms. Premji holds her own as a woman of substance. Always a brilliant student, Ms. Premji managed to top St. Xavier's College, Mumbai, obtaining the highest marks in psychology at Bombay University. She then completed her Master of Arts degree from Smith College, U.S.A., on a scholarship. But her proficiency was not limited to academics. Ms. Premji has been an avid sportsperson. At her school, Queen Mary’s, she participated in basketball, athletics, table-tennis, chess and hockey, and was appointed games captain too. It is not surprising that hockey remains high on her list as she has represented her college and state in this sport. M

Kala Academy’s School of Drama brings us another gem from the playwright Pundalik Naik, performed by its students. Chaitanyak Matt Naa , which loosely translated means that one cannot contain consciousness or enthusiasm within an edifice, was written in 1989-90. The Konkani play, much along the lines of Naik’s novel Achhev ( Upheaval ), Chaitanyak Matt Naa serves us with a view of the consequences of our actions, or alternately, our inertia, and the impact of an awakened consciousness. This play was initially performed as an exercise in improvisational class with the first year students, and soon the possibility of performing it for an audience was envisioned. The ensemble play was appreciated for its potential to encompass students from all the three years of the drama school, giving them a chance to bond with each other, particularly the first year students. Padmashree Josalkar, the director of the School of Drama, says, ‘When you see them loading and unloading the sets from the bu

Good Luck, Bad luck, Who Knows? is a brand new play from The Mustard Seed Company, written by Isabel Santa Rita Vas and directed by Isabel Vas and Kiran Bhandari. The play was performed with much success, eliciting appreciation from the audience. The play explores how the changing condition of a particular street, called Rua de Mascate (Street of Hawkers), Good Luck Street or Bad Luck Street depending on its circumstances, transforms the people associated with it. This street is threatened by a garbage dump and the building of a parking lot. We are introduced to the play’s protagonists, whose lives are revealed to be deeply connected with this street.  Harsha, an older lady with dementia, has made her home in this street after being cast out by her own daughter. She responds to any given situation with a stream of appropriate Gandhian quotes despite the limited functionality of her brain.  Pranoy is an artist who has defied pressure from his brother to go into a mainstream profession

The Mustard Seed Company is a name well associated with quality English theatre and has evolved entirely in Goa, thanks to the efforts of Isabel de Santa Rita Vas. The amateur theatre company has in the past performed plays that make you stop and think about life, society, the world, and the role you have to play. The latest production of The Mustard Seed Art Company is called Good Luck, Bad Luck, Who Knows? , and it will transport its audience to a street in Goa. Why a street, you ask. Isabel Vas says, ‘This is where things happen, where people’s paths cross, where strangers make contact and for a moment become neighbourly.  Streets are pathways and footpaths, but they are far from being mere blank spaces between the point of departure and the point of arrival. Flanked by doorways and window sills, and verandahs and attics, the street is filled with sounds and smells and lights and shadows, presence and absence. It’s on a street that long lost friends bump into each other, where the f

Lights Out! by Manjula Padmanabhan finds new expression through Dnyanesh Moghe’s direction and his actors. The play, which was performed on the 10th of August 2019 at the Multipurpose Hall, Central Library, Panjim, was inspired by a true incident that took place in 1982 in Santa Cruz, Bombay, albeit with fictional characters recreating it. The play commences with an unnerving, unearthly cry, evoking a sense of trepidation and suspense. We are told that the protagonist Leela has been hearing these distressing cries for some time and been pressuring her husband Bhaskar to call the police. Although she is not certain of the reason for the cries, innate intuition does not allow her to dismiss them as anything but the result of a crime. Bhaskar, on the other hand, finds every excuse in the book to avoid calling the police. He deems it fit, however, to call his friend Mohan to watch the ‘spectacle’ that we learn he has been witness to. What follows is an inane justification of the clearly un

As dramatic and over the top as tiatr can be, it cannot be denied that it is quintessentially Goan and has proven time and again to be a vehicle of social, political and cultural messages. There is a certain section of Goans who attempt to distance themselves from tiatr, believing themselves to be culturally superior to individuals who are a frequent audience. I remember my English professor at Carmel College declaring that Shakespeare’s plays were nothing but the tiatr of his times. It is indeed ironical that even today we have Goans studying Shakespeare in detail and disdaining this Goan form of theatre. Tiatr has existed in Goa for over 125 years and has historically played a part in the preservation of the Konkani language and culture during the Portuguese rule. The tiatr is divided into parts called pordhe (the singular is pordho ). Between two pordhe there will be two or three kantaram (songs) where the singers are accompanied by a live band using Western musical instruments.

When the Day Was Young is The Mustard Seed Company’s latest serving of amateur English theatre, much appreciated by those who feel the dearth of English language plays in Goa. The play that was performed at Gomant Vidya Niketan, Margao, and in collaboration with Sunaparanta, Goa Centre for the Arts, Panjim, at the Sunaparanta amphitheatre, dealt with the age-old problem of seniors being relegated to homes for the elderly. The playwright, Isabel Vas, delves into the deeper concerns that affect the golden years with a touch of magical realism. The story begins with Bonita, an old woman, having a conversation with herself, and attempting to cheer herself up with some entertainment to keep her sanity. There is a supernatural being she communicates with who is not revealed to the audience. Sushila, the caretaker, or supervisor, of the old age home, is extremely ‘by the book’ and brooks no rule to be broken. A future political aspirant, Sushila is an uptight personality who is governed enti