Body language and timed dialogues with no dose of exaggeration can easily tickle the funny bone of the audience, believes comedian Mathew from Merces. Mathew de Souza hails from the serene village of Merces in the Tiswadi taluka. Born on September 8, 1996, his father, late Deonisio de Souza would pen tiatrs ‘Mavoddechem Xit’, ‘Ghatki Amig’, ‘Utrachi Mudi’, ‘Tujem Tuka’ and ‘Usttem’ and stage them for feasts in his own village and neighbouring villages, with the assistance of village folk. “Enacting always the role of a comedian,” informed Mathew, “my father’s tiatrs would also be staged in Azossim, Dongrim and other villages as well.” “My father was also the editor and publisher of ‘Goychem Ful’, the registered Konkani periodical then, which he would personally ensure its sale through various book stalls.” After completing his primary education in the Our Lady of Merces High School, Merces, Mathew completed his higher and higher secondary school education (HSSE) in Santa Cruz High School, Santa Cruz. While completing his primary education in Merces school, he got an opportunity to pick up the lead role of ‘Bap’pa’ in a Konkani one-act play ‘Bap’pa Montri Zata’, directed by Francis Martins, an instructor in the school. Apart from showcasing his acting skills in a Konkani one-act play, Mathew was also roped in an English play for the same school gathering. “It was a display of inborn talent on stage in two plays and it was done with gusto,” he revealed proudly. Growing up as a teen and youth, Mathew got ample opportunities to act in plays staged in school and college. He also joined the youth and Legion of Mary groups in his parish and enacted in plays penned and staged by catechist Caetan Braganza during the Annual Day celebration by the Legionaries, apart from one-act plays presented during the Christmas season in the Tiswadi taluka. During the Christmas season, when fellow villager and neighbor, Joaquim Dias started penning and staging one-act plays ‘Ximiter’, ‘Noxibacho Khell’, ‘Kochro’ with the assistance of Mathew’s siblings, Andrew and Peter de Merces, he also found an entry in his troupe. When Joaquim Dias’ one-act play ‘Noxibacho Khell’ was converted into a tiatr for the village feast, he enacted the role of a comedian along with late Minglu Dias (Minglu de Merces) and Magdalene from Merces. Thereafter, Mathew was part of tiatrs penned and staged by late Ben Dias, late Caetan Fernandes, late Caetan Azavedo, late Caetan Pereira, late Philip Pereira and Dominic Carvalho, late Jerry de Britona, Francis de Britona and Antonio Vaz from Merces. “All the tiatrs would be mostly staged in the villages for festive occasions,” he concealed. In Kala Academy’s annual tiatr competition, Mathew’s entry as a comedian came about in villager, Avito Fernandes’ tiatr ‘Sonvsar Somptoloch’, followed by many tiatrs penned by the same director. “It was a comedy blast with Lipu Rodrigues and later with Loretta,” he recalled. Mathew was also part of Joaquim Dias’ troupe in the KA’s tiatr contest in production ‘Pausa Asor Kor’, followed by another tiatr written by Alex Fernandes and directed by Avito Fernandes and three tiatrs by Mark Araujo. Mathew joined the troupe of Alfred Fernandes (Alfi de Divar) in 2000 in tiatr ‘Puro Ami Tras Kaddleat Te’ and he continued with the same troupe for more productions, excluding tiatr ‘Pancho Mandament’. He won merit certificate in one of Avito Fernandes’ tiatrs, but was declared the ‘best comedian’ in tiatr ‘Korta Ti Vatt’ by Avito Fernandes in 2011, tiatr ‘Panchanama’ by Alfi de Divar in 2012 and tiatr ‘I Love You Sir’ by Avito Fernandes in 2013. In KA’s tiatr competition, while enacting in Alfi de Divar’s tiatr ‘Panchanama’, Mathew encountered comedienne Aveena and the couple clicked on the tiatr stage as perfect comedians. “But in tiatr ‘Problem’ we were at our best as Hindu and a Christian,” he disclosed, “and we reached the climax. The same production completed over 40 shows across Goa, besides staging it in Karwar and Delhi.” Mathew’s entry on the commercial stage came about in tiatr ‘Dev Dita Tem’ penned by Betty Alvares and directed by Rosario de Benaulim. In emergency he also acted in 2-3 tiatrs by the same writer and director. In Lenten shows, Mathew was invited by Calado de Verna in one of his productions ‘Family of the Year’, followed by two productions ‘Mhojem Jivit Tujea Hatant’ and ‘Tujean Oxem Korunk Zata?’ by Alfi de Divar and Lenoy Gomendes. As a comedian, he has also done several replacements in tiatrs by comedian Dominic, Samuel Carvalho, Mariano Fernandes, Lawry Travasso, Elvis/Carmin. After tiatr ‘Dev Dita Tem’, Mathew acted in tiatr ‘Ghaie’ by Frank D’Cunha, tiatr ‘Hanv Porot Ietelim’ by Succor de Santa Cruz, tiatr ‘Bai Juan’ by Sheikh Amir, tiatr ‘Devan Ghoddlem’ by Roseferns. In 2012, he also made a trip to UK to participate in tiatr ‘Bhirant’ written by late Inas de Canacona and directed by his brother, Peter de Merces’, where he joined hands with comedian Humbert and his daughter, Hazel.
In the annual folk plays (zomnivhele khell) staged during the Carnival festival, Mathew acted in Salvador Afonso’s troupe, and the staging of plays continued after Easter as well. He has also acted in tiatrs by Braz de Parra, Tracy de Calangute, Ives Tavares, John de Azossim, Jerry de Britona and Francis de Britona. When acting as a comedian in Saby de Divar’s tiatrs, ‘Goy Konnachem?’ and ‘Goykaranchem Pasiens Somplem’, he got an opportunity to make a foreign trip to Kuwait, Dubai and UK. He has also been part of the musical shows by Lenoy Gomendes, Alfi de Divar, Caesar D’Melo, Succor de Santa Cruz, Aniceto Lorenco and Selvy de Siolim. Mathew’s contribution in CDs, VCDs and Konkani telefilms are no less, with participation in CDs by F X de Curtorim, Mark Araujo and Succor de Santa Cruz, VCDs by Nevil Pereira, Andrew de Souza, films by Menino Mario Araujo, Fr Doel Dias, Fr Leslie Rego, Nevil Pereira, Andrew de Souza and Mark Araujo and short films on Goa Doordarshan by Andrew de Souza and Mahesh Rane. Sharing his personal experience on stage as a comedian, Mathew notes that body language, flow of dialogues depending on situation and time is important for the success of a comedy. “Excess of it can result in boredom among the audience. Merely because the crowd is enjoying the comedy, overdose of it can spoil the entire show. And when delivering comedy on stage, laughter among the comedians on stage should always be avoided,” he signs off.