Topnotch Tiatrist
A profile of tiatr superstar Prem Kumar
By Isidore Dantas
‘His magnum opus is Rinn, an experiment on the moving stage, portrayed a court
room drama showing a court scene with flashbacks of events by moving the stage
from the court scene to the actual events and returning to the original scene of
action.’
Goans are supposed to be having a languorous personality, but there are a few
who have defied this personification. Prem Kumar is one of them. He can be
called the reformer of the Konkani stage as his contribution has brought Konkani
tiatr to a standard which can compare fairly with the other regional language
dramas.
Peter D’Costa – (his given name) was born in the historic village of Chandor, a
former capital city of the Kadambas. As a member of the Cine Artistes’
Association, a Hindi films outfit in Mumbai, Peter was bold enough to ask
Producer-Director Dhirubhai Desai, the doyen of Hindi films, for a role. As
Peter was neither young nor old, it was difficult for him to bag a role. But
Desai’s Production Manager Pralhad, scanning Peter’s talent, offered him a role
of a blind man which Peter acted to satisfaction. It is here that Peter baptised
himself as Prem and set his foot in the Hindi film industry.
He enacted several small roles in Hindi films like Mera Salam, Bandish, Shaukeen,
Hum Bhi Insan Hai, Sakhi and Bahadur. K N Singh, a noted Hindi films character
artiste, spotted him on the sets and patted him for his excellent portrayals.
His performance in Hamara Hax as a Muslim moulvi (priest) won him accolades for
reciting the dialogues in pure Arabic. Many spectators were bewildered to find a
Goan Catholic doing this role to perfection. The veteran film director S M
Esmael promised him a big role in his next Hindi film but fate willed it
otherwise as the director expired and the promise remained unfulfilled.
Prem made his debut on the Konkani stage at the tender age of thirteen at P T
Bhangwadi, Mumbai, in Mhozo Put written and directed by himself and has today 54
dramas under his belt.
Vasant Joglekar – a noteworthy name of Marathi stage once accompanied him to
watch a Konkani drama of a top Konkani writer-director at P T Bhangwadi. The
guest’s reaction to the scene of a landlord’s house against the backdrop of a
jungle scene put Prem to shame. Here started the pursuit of Prem for the
upliftment of the Konkani stage. His love for Konkani made him bid adieu to
Hindi films.
His dramas specialise in settings and visuals through the aids of projectors and
slides – a new concept he introduced on the Konkani stage way back in the
fifties. It is a joy to watch his dramas. He drenches them with spectacular
scenes like in the movies. His dramas are patronised by the masses as well as
the glitterati as they mix a strong story with powerful dialogues.
Mortikar showed the fleeing of a murderer through a majestic back-stage
projection of a road scene showing the criminal at his heels as is done on
celluloid. Jivit Ek Sopon brought out the best of Betty Fernandes – one of the
finest actresses of the Konkani stage – in the disguised role of a male. Abdul
Narayan D’Souza and Fulam ani Kantte dealt with communal harmony. Vavraddi
enacted naturally by Prem himself presented a panaroma of the rural scene – a
treat to be cherished. His Piso is the only monologue of the Konkani tiatrs. The
audience remembers with appreciation the scene in Maria Magdalena where Jesus
asks her to quench her thirst from the rock which will fetch her water. She
strikes the rocks and the water zooms like a fountain on the stage to the
thunderous applause form the audience. The late Cardinal Varerian Gracias was
all praise for this religious drama. The late Y B Chavan who was then the Chief
Minister of Maharashtra was flabbergasted to note that he was presenting the
award to the same actor (Prem ) who had acted superbly in the role of a crippled
in Angounn.
His magnum opus is Rinn, an experiment on the moving stage, portrayed a court
room drama showing a court scene with flashbacks of events by moving the stage
from the court scene to the actual events and returning to the original scene of
action. The same drama witnessed the superb comic performance of Paul Romy in
the grab of a gouio (blockhead) so much that the scene received an encore,
unheard in dramas.
Although his dramas are big budgeted because of the props he uses, some of them
have crossed century mark, namely Dukh, Kakut, Peleache Vostuchi Axea Korum Naie.
He has over sixty trophies to his credit, including the Bandodkar Cup and Gold
Medal for Vavraddi, I.G.P. Arun Bhagat Shield, Emanuel Printing Press Shield,
Cine Times Awards, Natraj Award by Vasco citizens, Konkani Cultural Association
Award, Konkani Sahitya Samiti Award, Prohibition Award of the Government of
Maharashtra.
Besides Konkani dramas, Prem has acted in the Konkani film Boglantt as the hero
which has Goan and Mangalorean actors.
Prem considers all his dramas alike as he treats them like his own children.
According to him there is no competition between tiatrs and khell-tiatrs as both
are individually good and cater to different tastes but both are dependent on a
good story. Prem’s prescription for a good dramatist is ‘ACTOR’ standing for
actor, comedian, training, oration and rhythm and ‘DIRECTOR’ implying demand,
imitation, reading, encouragement, training, order and right. And all will agree
that Prem fits this to the perfect T.
When asked as to how he manages to enact a role so naturally with emotions he
says whilst acting he forgets himself and completely merges with the role. He is
never complacent with the roles he performs and says his best is yet to come.
Prem, who posseses a strong memory and can recite any song or dialogue from his
dramas and films, is now busy with his new tiatr entitled No Time. On the future
of the Konkani drama, Prem is full of optimism and believes that there is always
light at the end of the tunnel and that Konkani tiatr like the proverbial
phoenix will rise form the ashes to reach the pinnacle of glory.
Prem who has ploughed all his earnings from films and dramas for the betterment
of the Konkani stage needs sponsorship as the production costs have soared and
the audience cannot afford exorbitant pricing of the tickets. He has been the
tireless votary of the cause of Konkani and rightly deserves help and
appreciation from the government.
(Goa Today/September 1998)