Having just celebrated World Theatre Day, industry stalwarts reflect on the current scene and share their hopes for the future of
the art form with
NT NETWORK
ADITHI SHARMA & CHRISTINE MACHADO | NT NETWORK
Theatre has long been an integral part of Goa’s cultural identity, evolving across languages and formats to reflect the region’s rich heritage and socio-cultural issues. While some formats have gained greater patronage, others are progressing steadily.
English theatre:
Small but significant
English theatre, for instance, is still carving its niche, and it owes much of its growth to practitioners like Isabel Santa Rita Vaz, a veteran theatre educator and founder of The Mustard Seed Art Company. Beginning her journey with college performances, she founded the theatre group in 1987, and her productions have received
well-deserved recognition.
Other groups also stage productions, though on a smaller scale. Goa has also benefited from visiting troupes from other Indian cities, which offer inspiration and exposure to local audiences. Despite its smaller audience base, English theatre in Goa has developed its own identity. “English theatre has the advantage of performing original works in English, not just translations,” says Vaz.
However, there appears to be a shortage of good playwrights who focus on the Goan point of view. “Many Western classics are adapted to a Goan setting or staged as they are,” says theatre director, music designer and academician Saish Deshpande, adding that English theatre also lacks good technicians, an area that still doesn’t receive enough attention.
Vaz, however, remains one of the few playwrights consistently writing original scripts on local themes. “The limited availability of English plays nudges us to write our own on local themes and be adventurous,” she says.
While expanding the reach of English theatre has been challenging, Vaz and her troupe perform in unconventional spaces—terraces, homes, senior citizens’ clubs, and even by the sea. “That’s our way of staying open and reaching a wider audience,” she shares.
And to cultivate more interest, schools and colleges play a crucial role. Vaz believes that competitions and annual performances serve as important training grounds for young talent. “They help students explore theatre, build confidence, and refine their craft,” she says.
Kiran Bhandari, a member of The Mustard Seed Art Company, is one such young performer who joined theatre during college. A school teacher today, he believes in introducing theatre to children early and ensures that every student in his class participates in school plays. “Theatre builds confidence and teaches collaboration, essential life skills,” he says.
Ariedon Gomes, also part of The Mustard Seed Art Company, emphasises the importance of workshops and mentorships with senior artistes to help young performers hone their skills. He also urges for financial and social support to help aspiring performers. “In Maharashtra, Marathi theatre flourishes with support from schools, the government, and the public. English theatre in Goa needs similar encouragement,” he says.
Tiatr- A mirror to society
Konkani tiatr meanwhile remains unique to Goa, blending drama, music, and social commentary. Once centered on themes like family and morality, it now tackles contemporary issues such as politics and education.
“Through music and satire, we hold a mirror to society, addressing corruption, social inequality, and cultural preservation. It is our duty as tiatrists to make sure that these voices are heard,” says tiatrist and member secretary of Tiatr Academy of Goa, Menino Fernandes aka Menino de Bandar. Tiatr veteran Tomazinho Cardozo, author of tiatr books such as ‘Tiatr Goencho Haarso’, echoes this sentiment. “Tiatr brings to the stage issues that impact people’s lives. My latest tiatr, ‘Oh Goa’, addresses migration and the future of the state.”
Beyond shifting themes, tiatr has evolved technically. Cardozo credits Kala Academy’s competitions since the 1970s for pushing directors and writers to improve their expertise. Digital platforms too, says Fernandes, now help tiatr reach wider audiences but he stresses that preserving its essence is essential.
Yet, attracting younger audiences is a challenge. “On stage, there are many young actors and singers, but few in the audience,” notes Cardozo, attributing this to changing entertainment preferences. He believes innovation is key, pointing out that competition tiatrs bring fresh ideas, while commercial tiatrs sometimes struggle to adapt.
Konkani natak
Apart from the famed tiatr, Konkani theatre includes several other formats, some found only in rural areas. One with a dedicated following is the Konkani natak or drama. An active figure in this field is Rajdeep Naik, whose latest play, ‘Ganv Zala Zantto’, addressing the River Mhadei issue, has gained immense popularity and even been performed in the U.K.
“While tiatr is commercial, natak is traditionally performed in villages and does not have tickets. Also, tiatr has a larger Catholic audience, whereas natak tends to attract Hindus,” explains Naik.
To transform the natak scene, Naik founded his theatre group, Kalachetana Volvoi, in 1998 and began charging for his productions in 2001. However, he feels more needs to be done. “With audiences exposed to online content, our productions must match that quality to stay relevant,” he says.
He also stresses the need for stronger performances. “Acting isn’t just about delivering lines—it requires studying drama, mastering language, and understanding voice modulation, music, and lighting. Focusing on these aspects will raise the standard of our plays,” he adds.
Marathi theatre – A deep history
Just like tiatr, Marathi theatre in Goa has a rich history, especially in folk theatre, which combines Marathi and Konkani. “While the first tiatr was staged in 1892, Marathi musicals were performed in the state even earlier. Long before that, a traditional theatre form called kaalo existed,” says Deshpande, who holds a doctorate in dramatics.
With the advent of the proscenium stage, Marathi plays written by Maharashtrian playwrights began to be staged in Goa. “Some musicals were even bigger hits here first,” says Deshpande. Apart from musicals, historical and mythological plays were also staged.
Marathi theatre continues to thrive, particularly with the rise of competitions and festivals at state and national levels. “Many global scripts have been adapted into Marathi by Goan writers. Local issues have also been explored, and some plays have received recognition nationally. This is also due to the availability of skilled technicians in Goa,” says Deshpande.
Indeed, the theatre scene has transformed significantly since Marathi actor and director Satish Narvekar entered the field 33 years ago. “When I started, it was difficult to find actors. Now, there are many young faces. If you look at Kala Academy competitions, you’ll see a lot of new talent,” he says, adding that many youngsters view theatre as a stepping stone to films.
However, despite this increase in young actors, Narvekar observes that theatre groups are fading. “Earlier, amateur theatre groups gave actors a platform to grow. Now, many well-known groups are no longer active,” he says. He also notes that young artistes frequently switch groups. “Previously, people stayed with a group for at least four to five years, which helped them grow. Nowadays, they move on quickly if they find a better role, limiting their artistic development,” he explains.
Narvekar’s group produces three to four plays annually and has performed at national festivals, including ‘Bharat Rang Mahotsav’, India’s largest theatre festival. He believes Goan theatre needs to extend beyond local competitions and participate in festivals. “Such exposure helps artistes stay updated with trends and realise their potential,” he says.
One major challenge however, he too admits, is the lack of strong scripts. “There’s a trend of translating English scripts into Marathi or Konkani, but original, high-quality scripts are rare,” he says. To address this, he suggests that colleges encourage students to write scripts. “Most language graduates enter teaching, but they should also explore scriptwriting. Workshops with experienced playwrights from Goa and beyond could further help nurture young talent,” he says.
The rise of parallel theatre
In recent times, Goa has also seen a rise in parallel theatre groups, bringing fresh perspectives. These include Theatre Flamingo, Omagio Circus, Dhae Akar, Outcaste, Fourthwall Theatre, Hauns, and Abhivyaktee.
“Goa’s theatre heritage is also preserved through traditional houses like Hauns Sangeet Natya Mandal in Ponda, run by the Naik family for 75 years. Artistes from across the country come here to hone their craft. I myself have learned theatre here,” says director of Theatre Flamingo, Keatan Jhadav.
A crucial change brought about by parallel theatre is multilingual productions. “English is the language of the new generation, so multilingual plays help reach a wider audience,” says Deshpande, co-founder of Abhivyaktee.
Theatre Flamingo has also fused languages and genres to bridge cultural divides. “Konkani and Marathi theatre have distinct audiences—Catholics follow tiatr, while Hindus have their traditional theatre. To bridge this gap, I’ve mixed languages and genres and even directed a non-verbal production,” says Jhadav, adding that incorporating ritualistic practices helps create a unique performance style reflecting Goa’s traditions.
He also conducts national theatre residencies, collaborates with artistes out of Goa, and works with children and community groups.
Beyond the stage
Jhadav, like Vaz, also designs plays for unconventional spaces such as terraces, gardens, and open grounds, making theatre more accessible. “Alternative spaces like the Museum of Goa, TF Actors Lab, Sunaparanta, HH Art Space, and some cafés are becoming hubs for innovative performances,” he says.
Theatre director and facilitator Arundhati Chattopadhyay agrees that attracting young people to theatre requires more opportunities. “Giving performers venues like museums, churches, temple compounds, parks, or even street locations (I once performed in the Panaji market as part of the Serendipity Arts Festival)would open up possibilities. Making public spaces permanent performance venues, even once a month, could be a game changer,” she suggests.
She also recommends that different samajs like Bengalis, Keralites, and Gujaratis stage plays during festivals. “Out of curiosity, people will start attending. Language isn’t the only bridge—audiences connect through emotions and physical theatre,” she explains.
For theatre to flourish in Goa, she stresses the need for accessible venues, permissions, and sponsorships. “Many students move to Pune or Mumbai for theatre studies. Options of coming back and starting their own companies is a priority. But sponsorship is the biggest hurdle. If smaller venues supported productions, it would make things easier for performers,” she says.
Nurturing the next generation
The Kala Academy has played an important role in formal theatre education, establishing the School of Drama in the late 1980s. The three-year course ran until 2020, but as it lacked university affiliation, the College of Theatre Arts, which offers a four-year degree programme was introduced in 2017 with affiliation to Goa University.
“The interest among youngsters has been overwhelming, but many see it as a stepping stone to the film industry,” says college professor Narayan Kharade. He adds that around 45 students are currently enrolled, with a steady interest in higher studies. “Each class can accommodate 30 students, but we typically have about 10 per batch. Given Goa’s size, this is reasonable, though we could attract more students from outside the state,” he says.
Kharade also highlights the need for a master’s programme at the academy. “Without it, research in theatre will not be taken up,”
he says.
Meanwhile, Chattopadhyay has been running the young teens theatre company ‘In Stages’ for the past 15 years at Sunaparanta – Goa Centre for Arts. “The aim is to help children express their thoughts through physical theatre, using minimal props and their bodies to convey situations. Sound and music is extremely important. Their awareness of real issues increases their passion to work as a group and make societal change,” she explains. Among their past productions, they have tackled topics like the River Mhadei issue.
Abhivyaktee, active for over 26 years, has also been nurturing young talent, transitioning from children’s theatre to youth theatre.
And Deshpande believes that apart from just learning the art form, theatre helps young sters understand themselves and develop their voices.
He adds that in his sessions or lectures, he urges them to watch more plays, whether in auditoriums or at zatras. “Theatre isn’t just about acting; it involves writing, set design, and more. By watching, they can discover their strengths,” he says.
He also emphasises that this will enable them to understand theatre’s impact. “It has grown from entertainment to social awareness, education, and therapy. Once young people realise this, they will be drawn to it.”
