Serkar 420: The struggle to reclaim pride lost
The writing of the tiatr Serkar 420 could be termed as an awareness campaign on various issues, mixed with a little comedy and songs interspersed in between the script
30th June 2019, 03:11 Hrs
Democracy is defined as the government of the people, for the people and by the people. From this, it implies that the government that comprises of peoples’ representatives should work in the interests of the people that elected them to power. But, when the elected representatives choose their personal interests over that of the masses, is it truly a democratic government? Francis de Tuem asks several questions as he pinpoints to the people that the government of the people for the people and by the people has become Serkar 420!
The script has nothing of a tiatr in it. The comedy is not related to the tiatr plot. There are no ‘cantos’; the one verse and chorus songs is a requirement of a tiatr script. The script surely lacks a strong storyline. The prose of the tiatr could be termed as an awareness on various issues created with a little comedy and songs interspersed between the awareness campaign. Had the tiatr a strong storyline with interaction between the characters of the plot, the awareness campaign could have become more meaningful. A frail storyline, however, erupts in the second half.
The comedy is in the non stop drama form. The lead line of developments or sequences of the main theme is totally diversive of the comedy. Had the comedians been made part of the campaign storyline the presentation could have derived more punch. The comedy was decent and simple and at times sent the audience into uncontrollable laughing. Moreover, the introduction of the ‘Just Imagine’ tv series on stage gave the performance the appearance of a village concert.
The sets were simple. Having no storyline or locales to display as per the script, most of the acts were enacted on the road or garden curtains. The comedy was presented on the house curtain. Some scenes were depicted on the screen with the help of a projector. The blue curtain use was minimal.
The tiatr features great artistes. Franky Gonsalves plays a great character. The veteran Joe Rose looks good as the activist priest. Willy excels as the activist with ulterior motives. Semenca Rebello is a treat to watch. Her portrayal of a dedicated Goan social activist is outstanding. Moreover the expressions, voice modulations and stage presence speaks of the class actor in her.
The band is punchy with great drumming. James Vaz is excellent in the background score. There are interesting solos by Peter de Arambol, Xavier Gomes, Lawry, Michael and a young boy. Francis de Tuem’s solo stands out for its class in composing and rendition too. A duet by Rima and Peter a trio by Francis Marcos and Xavier and another quartet by the Big 4 are treat to the ears.
The direction is sleek and the director has managed to get a good performance from the artistes. The technical side has complimented the actors and have made the performance lively.
Watching the tiatr or for that matter watching the performances in the name of tiatr, a question arises. Do these people venturing into the art, know what a real tiatr is? Does Tiatr Academy approve of such presentations in the name of tiatr? If not, can’t they step in and prevent the murder of tiatr that is prevailing on stage? Can the Tiatr Academy get involved here and stop further deterioration of Tiatr?
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