By Shamaz

IN THE RECENT years, there has been a spate of newcomers on the Konkani Tiatr stage. Some have made it big with leaps and bounds while some get there – slow and steady. Belonging to the latter category is Sebastiao Willy Silveira better known as “WILLY”.

It was a lovely day and as usual we were having this lively banter over the ‘phone when all of a sudden I said, “ Willy, come on over. I want to talk to you.” Surprised he said ‘Isn’t that what we are doing now?” No, I mean really talk like in an interview. I want to feature you on GOAN OBSERVER,” I said seriously. He laughed but agreed to come anyway.

Lowering his lean and lanky frame into the chair opposite me, he complained good humouredly “Why me yaar? I am not that big. I thought only the big and famous get featured in papers. “Well, You thought wrong,” pat came my reply.

Willy Silveira, this good looking young tiatrist has put in around six years now on the tiatr stage, having made his debut (courtesy Fr. Britto) in TACT Institute production ‘Tiatrist’ after undergoing a Theatre Training Course. The tiatr was put up for the Kala Academy’s tiatr Competition and Willy played the title role which won him not only audience appreciation but a Merit Certificate for Best Actor, as well.

“So what are you doing these days?” I began casually. “Seeing you,” he replied cheekily. “I mean on tiatr stage,” I stress sarcastically. “Oh that! I am acting for Pal Soares’ tiatr “Mhaka Soeg Diat” directed by Felcy. “I have a nice role in it and … You have done a great job of it,” I finish for him. He blushes at the compliment. Yes Willy has definitely matured as an actor since his ‘Tiatrist’ days. He has played a variety of roles since, ranging from a Hero, to a brother, to a friend, to a husband, to a father, etc. etc. His favourite role to date is the one he played in F.D. Cunha’s “Sambhall”, that of a husband, which he says gave him a lot of scope to act. “Given the same role today, I see I could have done still better,” he says seriously.

“Having worked under busy directors like Prince Jacob and given your looks and talent, don’t you feel you deserve to be acting in big banners by now?

“Banners - big or small do not matter. It is the quality of work that I do which matters more to me. As long as my performance is appreciated by the audience, I am happy.”

What is it like acting with the “big” and famous? (as he puts it) “cool,” he says. I used to be nervous at first but now I am quite comfortable. They are all very cooperative.

He likes the acting of Anil Pednekar and Antonette de Calangute.

Menino Mario and Felcy are his favourite singers. “In the direction department, among all the directors I have worked with so far, I feel Sharon is the best. She certainly knows her job and does it really well,” he says seriously, looking straight at me. (Vow! Thank you Will!)

Willy also sings which is an added advantage for a Tiatrist today. Besides Wilmix-Sharon, Prince Jacob, he has acted for Jose Souza Senastiao Calado, F. D’Cunha, Sr. Agnes, Milagres de Chandor, Glen and Menuno Mario.

That reminds me, they say that you are aping Menino Mario in your acting…. Comment!

Surprised at the unexpected question, he ponders for a while before replying “May be I do. I have worked very closely with the actor so I may have adapted some of his mannerisms. Secondly, I have substituted for him several times that I may have subconsciously tried to be his duplicate. But I do have my own identity as an actor,’ he adds.

Willy is an outdoor person in that, he loves to play football, cricket, badminton, etc. His hobbies are listening to western pop and rock music ( Enrique, Backstreet Boys, Bryan Adams), watching T.V. his favourite being ‘Jassi Jaisi Koi Nahin” and yes, watching tiatros too ( … with you know who, he adds giving me a mischievous look).

Hmm, so what do you have to say about the Tiatros you watch? I ask “They are all good in their own way. But generally speaking, I feel we are sadly lacking in the light effects department. Proper use of stage lights is not done at all. There are just these few commonly used lights – the red light, the green light and the backlight bulb for the entries of actors. There is so much more that can be done with the lights.

Secondly, the background music / music effects could be improved upon instead of the usual banging on the cymbals.

Thirdly, the special effect scenes which are depicted should be used only if they have a direct link to the story or the play, I feel. And last but not the least, the audience should get their money’s worth and a good moral or message to take home.

“What are your future plans?.... in stage I mean, “I add hastily before he gives me a cheeky rejoinder.

“I plan to write and direct my own tiatrs someday.”

Does that mean you will have your own troupe?

“No, never! He says vehemently.” I shall never do that. You see, I shall write the play first and then do the casting instead of the other way round i.e. have a cast and then write a play. I feel this curbs the talent of the playwright. Given a choice of artists one can pick the best suitable for the job.”

Hmm! That is definitely Food for Thought!” I comment.

“Food reminds me, are we having dinner ordered here?” he teases me.

“Just look at the time,’ he points to the clock. Oops! It was nearing 8.30 p.m.

Locking up, we walk towards the bus stop, carrying on our usual banter as he kept pulling me away from being run down by some crazy drivers, obviously in a hurry to get home.  (Goan Observer)