The casino culture and its adverse effect on Goan youth was the highlight of John Aleixin Fernandes’ tiatr ‘Bore Dis Kednam Yetole?’
Greed for money prompts the head of the family to push his wife into politics and a mess follows, resulting into constant conflicts between the husband and the wife. The only son in the family takes advantage of the situation, leading to heartbreak and disaster.
Edmund D’Souza (Cyril Fernandes) is an honest constable, carrying out his duties diligently. But his wife Sophia’s (Bushan Rodrigues) involvement in politics as sarpanch and thereafter as president of the party block turns their son Frazer (Frazer Fernandes) into a spoilt brat.
With the support of the minister (Connie Pereira), Sophia decides to welcome casinos in the river adjacent to the village. Instant opposition follows from parish priest, Fr Victor (Jose Aires D’Souza) and the villagers.
But will the opposition work in favour of Fr Victor and the villagers or Sophia and the minister? Who is targeted for the strong opposition and how? What is the fate of D’Souza and Frazer due to the misdeeds of wife/mother? How does Sophia receive her punishment at the end?
John Aleixin Fernandes’ tiatr ‘Bore Dis Kednam Yetole?’ has a fine script with crisp direction. Issues pertaining to Goan youth like alcoholism, drugs, casino gambling and prostitution form the core of the plot. And when upright police personnel work to fight for the truth, threats that follow from politicians have been shown in the drama.
Cyril does justice to his role of a constable, while William displays command in his inspector’s uniform. Frazer exhibits comfort in his happy-go-lucky character. John Alexin and Lorna form a perfect pair as the Hindu couple for some lighter moments between scenes. Jose Aires was impressive as the priest. Bushan could have been more expressive in her emotions and body language while high-pitched Connie as minister also lacked voice modulation. In the concluding scene, the unexpected entry of the constable in his house keeps the audience perplexed.
Stage sets depicting Sophia’s bungalow, besides the police station and church office deserve a special mention, but the lights failed to create the desired effect.
Among the songs, two solos by Bony Alvim, a trio by Frazer/Mathew/Connie and a duet by Roque Dias/Bushan received much applause.
