The Goan Cultural Society UK proudly presents Alfonso Bros

Francis D’Costa, President of D’Costa Financial Group is proud to present for the 2nd time – an International Konkani Tiatr (Theatre) titled “CHUKH” in Toronto on Saturday, the 22nd of May at the Stephen Leacock Collegiate Institiute auditorium. In keeping with his work of continuing to keep the Goan tradition alive, this time he is organising what promises be a real treat for lovers of Konkani Tiatr. Apart from producing a couple of Canadian Konkani dramas, Francis D’Costa has once before brought into Toronto an artiste of international repute – the late Alfred Rose in 1999 for the resoundingly successful “Musical Fiesta de Goa”.

The entire cast of the fabulous play “CHUKH” (meaning “mistake”) arrives here from London, U.K. on the 20th of May. Miguel (Mike) Alphonso and his five brothers or as they call themselves “The A Team”, together with nine other members form the entire cast of “Chukh”. Originating from the beautiful tropical Indian Island of Goa, the troupe are now settled in the U.K, having grown up either in Africa or in Goa. They all share a deep and enduring love of the Konkani language and their common goal is to make sure that the language is not forgotten once Goans go beyond the shores of their beautiful island.

Together with Mike Alphonso are his brothers Tony, Vincent, Johnny, Cassy and Xavier. Other members of the cast include his wife Mary Alphonso, Rosita Pereira (singer extraordinaire) Bella Fernandes, Ida D’Souza, Francis D’Silva, Gregg Carvalho, and the children of the Alphonso brothers who are multi-talented – Michelle, Mirose, and Trella. The show has played in England to rave reviews and promises to thrill audiences in Toronto with its unique flavour, musical repertoire and comedy routines.

As Sponsor and Producer, Francis D’Costa would like to request all Goans to please support the Goan arts, by attending the show. Francis himself has dedicated a large portion of his time and talent, sponsoring and supporting Goan events in his ever ardent desire to keep the Goan tradition alive and kicking. He says, “Regardless of how far in life we may have come, our roots are what give us stability and identity. Let us not forget that those roots are embedded in the rich and fertile soil of Goa”.

It is not an easy task, putting together something of this magnitude. Some 30 volunteers have devoted their time and talents, assisting with ticket sales, the co-ordination of stage and props as well as a myriad of other little things, so that it all runs smoothly and seamlessly on the day of the Tiatr.

Tickets are still available and can be obtained by calling Francis at the DFG offices at 905-471-0572 or on his cell at 416-995-7133. You can also check the second flyer (attached herewith) with updated information.

Event Coordinator: Pamela Vasandani Master of ceremonies: Jr.Menezes
Lyrics: Chilliboy [England] Stage Manager: Johnny [England]
Hall Managers: Menino Cardoso & Oscar D’Mello
Sound: Tony Da Costa & Terence Noronha
Computer Effects: Effects: Ashley D’Costa & Erwin Noronha
Tickets: Maxim D’Mello
FOR TICKETS/INFORMATION CONTACT
D’Costa Financial Group
(905) 471-0572 ext.11 or 12
Winnie Crasto: 905-890-2725
Jr. Menezes: 905-846-6035
Angela Pereira: 905-275-0591
Olavio Da Costa: 905-803-0371

Ticket: $15.00 each
Reserved seating: $19.00 each
Includes Drama Souvenir TShirt.

Goan Cultural Society production of " CHUKH " ................ London UK Goan Cultural Society production of " CHUKH " ................ London UK It was indeed a great pleasure to have attended a Teatr in North London UK at the special invitation of GCS Committee members a few weeks ago. The show was the Goan Cultural Society production of CHUKH , which was written and directed by Mike Alfonso. The show was well attended, the hall was nearly full to its capacity, and surprisingly there were a few young faces amongst the middle aged crowd. This gave the organizers and the Actors the encouragement that all their efforts were not going in vain. The story "CHUKH" is set in UK with one scene explaining how it all started in Goa. The story was effective and had its share of twists. The audience enjoyed every moment of the 4 hour show. The laughter throughout the show made one feel that those who attended were well versed with Konkani , although for sure one was aware that some made every effort to understand the show. The most ambitious part of the show was the participation of the very young , ages ranging from 3 to 16 years, many of the young actors did not speak Konkani but sang the songs in a very convincing manner. I was also given to understand that these youngsters were making every effort to learn Konkani , they did so by attending Konkani classes every week A problem has now arisen - The parents who would usually speak in konkani - so that the youngsters would not understand what they spoke about them - can no longer do so. The backdrops were beautifully set, giving the atmosphere of a Goan setting , the accompanied music was superbly sequenced. The singers including the youngsters beautifully blended their songs with the music. The acting was superb, the singers sang well and they surpassed the expectations of the audience. I would like to take this opportunity of congratulating the Goan Cultural Society UK for the wonderful work they do, to preserve the Goan heritage , more so in a place like London. I am sure you will hear more about their work in the near future. I believe that a video is being edited and should be available in a short while , those wishing to obtain a copy should contact the Committee at the e-mail address mentioned here below. Please do take time to write and encourage them to continue their good work. thank you. rene barreto GOAN CULTURAL SOCIETY - UK www.goanculturalsociety.com

I am glad that my review of CHUKH provoked a debate on a couple of issues. One of purposes of writing is to provoke discussion, but the precise aim of a review is to look at a book, a play, movie or any cultural event from a critical point of view. As a reviewer one cannot be a cheerleader or a fan. When a audience is full of loyal fans, it's called a "paper house." Maybe Chukh had such an audience in England where, I am informed, it has been performed four times.

I never set out with preconceived notions to run down a play. In reviewing Chukh I took into consideration that the actors were amateurs. I stand to gain nothing by saying deliberately saying wrong things about a play. If anyone carefully reads the play, I tried to establish a balance. I never condemned the play, but showed where the story tripped.

My opening line says it all. It was a play shaping up well, but somehow got confused after the intermission. If those cheerleaders or family members of the Alfonso brothers had pointed out that what I said was not what happened I would have welcomed a critique of my review. I believe in fair game. It was one of the reasons I didn't reply to the initial anonymous letter, which shockingly was addressed To Whomsoever It May Concern. It obviously concerned me, but why the writer hid his name shows lack of guts. I wrote my review with conviction.

To mention in passing, especially for the England group, the much-herald play, Bombay Dreams, was critically praised in the English media but got panned by New York critics. That's the way the world revolves. Some critics like certain plays, while others don't. You take criticism with a pinch of salt and you take praise with humility. The other reason for not replying earlier is my busy schedule in Toronto in planning a trip to the Middle East. I am writing this from Dubai. The review was not written for goanet, but for South Asian Observer, a weekly newspaper in Toronto, for which I am consulting editor. I forwarded a copy of my review to goanet with a note saying a few paras were removed that mostly delved on the Toronto promoters of the play. I felt they were not relevant to the goanetters at large. I also forwarded a copy of my review to Francis D'Costa, of D'Costa Financial Group, who was the "producer" of the play in Toronto. Francis called me a couple of days later saying that he had received a phone call from London complaining about the review. He said I was discouraging young actors and was doing a disservice to Goan culture. Though our conversation was long. To surmise it, I said to Francis that if he felt that way, I couldn't help it and that, for me, I believe in the saying, the play's the thing. I never thought the group or those close to it would take my review seriously. It surprised me at the reaction. More so, the letter from Joyce Alfonso. Don't know if she is related to the Alfonso brothers, but her questioning my qualification was something weird. It shows how much Joyce knows about critics and criticism. I would have loved to debate her on this issue, but I would have first liked to know what "qualifications" she has to join me in any intellectual discussion on the world of theatre, more so on Konkani tiatr. What Bosco said about me may have been enough for a forum such as goanet. To add to Bosco's message, I have reviewed Konkani tiatrs in Mumbai for a long time before migrating to Canada. If I may so, many popular tiatrists and a few legends of the Konkani stage may have been not to happy with my reviews of their plays. I thing I am sure, with the exception of Prem Kumar, none dare discuss my reviews on an one-on-one basis with me when I met them. Once in my journalistic career in Mumbai, the Konkani weekly, Cine Times, attacked me in a front-page article for a review of a play. I later learnt that the "promoters" of the play were the proprieters of Cine Times and, hence, the attack. In a piece in the rival paper, Goa Times, I challenged the writer of the Cine Times's piece to an open debate. My challenge was not taken up by Cine Times. I am told that the Cine Times owners were also not happy with the piece on Konkani tiatr I wrote for the now-defunct weekly, Clarity, a newsmen's weekly by newsmen, which the desk guys headlined, Focot Cantaran ani Fokandan. They informed me to witness Boyer's Bhangar and Burguim and also questioned why only Ophelia Cabral's photo accompanied the piece. My reply was that I had already seen Boyer's plan and as for Ophelia's photo, it wasn't my decision. The desk people selected her photo from a bunch I gave them and later informed me that they could use only one because of space constraints. On a recent visit to Goa, I had lunch with Wilson and Sharon Marzello, the famed husband-and-wife team of triatists who run the Theatre and Cultural Arts Training Institute (TACT) in Margao for young people seeking a "career' in tiatrs. In India, there is the national school or academy for performing arts based in New Delhi. Wilson invited me to the passing-out ceremony of his students, but prior commitments prevented me from attending it. I told him about the tiatr scene in Toronto. I said we lack playwrights. He was courtesy enough to hand me two of his plays brought out in book form by the Kala Academy. Both plays, though originally written by Wilson in Roman script, have been published in Devnagiri script. He gave me permission to stage them in Toronto without any "royalty" for him. I said in case I convince tiatr groups in Toronto I will put a condition that part of the profits goes to his training school. Wilson also gave me a copy of the book he wrote on the hundred years of tiatr. He didn't mention my name in the book in a page or two he devoted to critics. I flipped through the book at his home, but I never raised the question as to why he had omitted me. He wrote glowingly about my late friend, Orlando Gomes. Though Orlando is no more to reply, but let me say for the first time here that Orlando was no critic but rather a "public relations" man to many tiatrists, especially to Boyer. Frankly, Orlando gave me complimentary tickets to many tiatrs on the condition I review them. I rarely approached producers or the playwrights for complimentary tickets. I could write more on this subject, but it does not warrant it here. I was asked by Orlando to be on the critics panel to chose the Man of the Year. I was shocked when the Man of the Year was given to Boyer on the stage with an announcement the panelists included me. I told Orlando that why my name was announced since I was not a member of the panel. I never voted nor told to vote for the Man of the Year. I said I was never a "formal" member because I had objected to a "prodcuer" being a member of the panel. Like many things related to the world of Konkani stage, this critics' panel was "bogus". My first objection to the critics' panel was the trophy donated by Murli Deora, a Congress MP and then president. I said the trophy should be bought with our money and not be given by someone not even connected to Konkani tiatr. The story behind this is that a Goan, who was the block president of the I also paid a courtesy visit to M. Boyer, a legend. Boyer was delighted to see me and asked his wife, Martha, to help him sit on a chair so he could have a conversation with me. Seeing him in his state, suffering as he is from Parkinson's, my eyes were moist. In my mind's eye, I could see him on stage dressed majestically and singing in his inimitable style. Nostalgia filled me. As I reflect now, I hope Wilson's school produce a Boyer from among from his students. I would love to see Konkani theatre progess and those involved in it prosper financially. In this context, I was glad to learn that the England group paid for its own tickets to come and stage the play in Toronto. They made a good sacrifice. But just as a book reviewer would not show any mercy for a book that is self-published by the author, I think a tiatr or play reviewer shouldn't take that into consideration. Let me say here that only yesterday I was checking with someone as to who are the people who sponsor tiatrs in Dubai. I have Chukh in mind. No matter what I said in my review, which I consider was well-balanced (but who am I to judge my own writing?), I felt that play needs to be staged for Dubai or any Middle East Konkani audiences. I stand by my review which said that the "sideshow" lifted the play out of its depths. It was really good, and made the play enjoyable overall. If the group has the contacts, the group must take the initiative to stage the play in Dubai. Lot of the people, especially in places outside Goa and Mumbai but may be equally true of audiences in Goa and Mumbai, who come to see a tiatr do so to enjoy it without trying to analyze it. That's been the bane of Konkani tiatrs and that's what I have been fighting against. To me, the play must sustain itself and not be dependant on the sideshow. But, as a tradition, the sideshow is often anchored in the play and more often than not overshadows the play itself. This is different subject altogether and I better stop here. Though I can go on, especially add to what Alfred has said about George Bernard Shaw by talking about other reknowned critics, I think I have said enough. To those who were hurt or disagreed with my review, and those who supported the view that people must have a right to free express, I regret for sending this post late. I, however, wish that the debate is not revived. Ami soglle kedna tori chukhtat, punn ami chukhloleak sarki vatt dakonk zai. Eugene Correia (In Goanet mailing list)

In the email re: Chukh -- few omissions, I got the name of the Girgaum Congresss Block President. His name is Nolasco Gama, NOT Nolasco Dias. Nolasco Dias is famed AIR singer, a colleague of my father. Not sure if he is still alive. He composed and sang many Konkani songs. He wrote a Konkani operata called Amoriche Ghantteo (Bells of the Angelus). I think my father wrote the music for it and later he was joined by Mauro Alphonso, a well-known musician. Or, Alphonso wrote the initial music and then my father was asked to join Alphonso as a team. My memory is not clear on how it worked. I, however, remember that my father and Dias spent hours at my home fine-tuning the music. Then Alphonso would come to my house and all three would sit and do rehearsals with Dias doing the vocals. My father also helped with suggestions in improving the script of the operatta. I won't list my father's limited contribution to songs of a couple of noted singers, who I will not mention now. One thing I will say, my father didn't have high regards for Goan Konkani stage. He appreciated Manglorean Konkani dramas. When growing up, he would tell me that Manglorean dramas were of a higher standard than Goan dramas. He would never decline playing at Manglorean plays, but I don't remember him playing at Goan dramas. He, however, went to see then at Bhangwadi, a stone's throw away from my building in Kalbadevi Road, and I often went with him when I was very young till I was a teenager. Similarly, I accompanied my dad to many Manglorean dramas where he played the violin for bands. Like other aspects of Goan Konkani stage, band groups played politics. He would never sink to that level. He would never ask band leaders to give tue chance to play for tiatrs. Unlike some musicians who played for tiatrs, my dad had a "day job" working for Indian Navy in the administrative office. He played for the Bombay Orchestra and often substituted at the Andrian de Mello and His String Quartet at the Grand Hotel at Ballard Estate. Since Romaldo wanted to know how many tiatrs I have seen, I must inform him that I have lost count. I would see a tiatr at Bhangwadi more than once. I could just walk in as the stage hands there knew me well. I would go backstage at the middle of a play that I have seen before and engage in conversations with some of them and then come home. Princess Theatre, popularly known as Bhangwadi, was my second home, so to say. Does my background satisfy both Romaldo and Joyce and other supporters of the Alphonso brothers and, in particular, the play, Chukh Would Romaldo and Joyce like to know more about my background with respect to Konkani theatre? At the same would Romaldo and Joyce be kind enough to tell me your backgrounds with respect to Konkani theatre and how many tiatrs each has watched? Since you'll started this game, including suggesting a "conspiracy theory", I have thrown the ball in your courts. Forewarning: Failure to reply would invite harsh comments from me.

Eugene Correia