‘Zomnichi
Dhull’, a tiatr written and
directed by Carmo Pacheco and presented by Curtorim Educational and Welfare
Foundation, focuses on child adoption and its effect on the family.
The curtains open to a scene where a man deserts his newborn
child at a cross, after the death of his wife. A nun passes by and notices the
abandoned child. As she picks it up and decides to take the child to the orphanage,
a childless couple volunteers to adopt the child. After much hesitation, the
nun obliges and parts with the child.
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The story revolves around Magdalen (Felcy) and her two sons,
Jolan (Carmo Pacheco) and Mak (Baptist Crasto). While Mak is her biological
son, Jolan is adopted; Mgdalen brings them up with equal love and affection.
The boys’ aunt, Filu (Jasmine), also resides with them.
One fine day, on the birthday of their mother, Mak and Jolan
have a surprise in store for her. Jolan reveals that he is all set to go to
America, while Mak discloses that he is in love with Swizel (Sonia), who is an
orphan, and he introduces her to the family. As Jolan proceeds to America, Mak
ties the knot with Swizel. After living abroad for five months, Jolan sends money
home for demolition of the old house and construction of a new bungalow. Money
then becomes the cause for misunderstanding between the mother-in-law and the
daughter-in-law.
How does Swizel empower and poison the mind of her husband? What
are Swizel’s future plans in order to remain secured? On returning home, what
is Jolan’s fate? Will he find a place in the new bungalow? Or will he continue
to be an orphan?
Carmo Pacheco’s tiatr
‘Zomnichi Dhull’ throws light on adoption of a child in a childless family and
the ill-treatment meted out when truth is unveiled. But the title of the tiatr
appears inappropriate as no reference is made about it throughout, except in
the last scene.
Carmo and Baptist
have given their best as siblings in the family. As spouse and daughter-in-law,
Sonia displays command. Felcy is comfortable as the mother, though she could
have been more expressive in emotions. Rio de Cortalim and Leonora are
supportive to the main cast.
Jasmine (Filu),
Allwyn (Nano) and Julius (Bolu) entertain with mild laughter pills, but
according to the format of the tiatr, comedy which should have been introduced
within the play, finds its place outside the plot, thus going beyond the
specified ‘sat podd’dde’.
In the category of
songs, solos by Milagres de Ganapoga, Leonora D’Costa, Carmo Pacheco, a duet by
Silvestrina Pereira and Rio de Cortalim, a choral by Esby and Valerie and a duo
by Valerie and Felcy were appealing to the ears.
Except
for the stage sets, lights and the background music was poorly executed. Philip
de Chandor and his team provided some good music.
