Saib Rocha
Domingos José "Saib" Rocha, also known as A. J. Rocha, was an Indian playwright, theatre director, and actor known for his work in tiatr productions. Referred to as the "Lion of the Konkani stage", Rocha was a leading Konkani theatre practitioner from 1916 to 1941. One of the greatest Konkani playwrights and directors, he founded the Union Jack Dramatic Company, six years after being influenced by the tiatr production Maurice and Juliana vo A Real Love Story by Rama.
Career
During the early stages of the Konkani tiatr, a form of Goan theatrical entertainment, the field encountered challenges. Numerous Konkani drama companies emerged and disbanded at a similar frequency, reflecting the unstable nature of the art form. However, the arrival of Rocha marked a turning point in the history of Konkani tiatr, as noted by Wilson Mazarello, a Konkani historian and singer. Rocha's presence on the Konkani tiatr scene proved to be a crucial milestone, providing a much-needed boost to the struggling state of this Goan entertainment tradition. Rocha's entrance into the Konkani tiatr arena coincided with a critical juncture when João Agostinho Fernandes was grappling to steer the Konkani tiatr in the right direction. The Konkani tiatr faced numerous challenges during this period, including petty politics, vulgarity, unhealthy criticism, and jealousy. These factors posed a threat to the integrity of the Konkani tiatr and its adherence to the noble standards set by Lucasinho Ribeiro, known as the originator of Konkani tiatr.Rocha's interest in the Konkani tiatr was sparked during his stay in Bombay in 1910, where he had the opportunity to witness several Konkani tiatrs written and directed by figures such as L.C.D. Braganza, Douglas Fernandes, Sebastiao Gabriel D'Souza, Lucasinho Ribeiro, and Rogaciano D'Souza. These experiences left a profound impact on Rocha, igniting his passion for writing and directing Konkani tiatrs. With his solid academic background, proficiency in English, and a natural affinity for the Konkani stage, Rocha embarked on his ambitious endeavor. Rocha initiated the creation of his first Konkani tiatr, titled Zenoveva de Brabão. However, in the midst of this undertaking, Rocha received a job offer in Basrah, compelling him to temporarily depart from Bombay. While in the Gulf, the outbreak of the First World War prompted Rocha's return to Bombay.
Upon his return, Rocha resumed his work on the script and successfully completed it in 1916. To bring his vision to life, Rocha meticulously selected an ensemble of actors and actresses. He formed the Union Jack Dramatic Company, which served as the platform for staging his tiatr. Comprising 32 members, the Union Jack Dramatic Company included founding actors such as Emidio Sailor, C. Carneiro, Jose Pereira Mittaiwalli, Simon Alphonso, S. Dias, J. Afonso, Luis Borges, Alphonso Pako, Chikin, Luis Alphonso, Altos, Duarte Hara, Santan Fernandes, D'Costa Eddie, Thomas Fernandes, Babu Hilario, Victor, Peter Peres Bomboincar, Elzara, C. D'Souza, A. Peres Bombilkar, Johnie Bartle, Patrick Fireman, and D'Costa Midas.
The Union Jack Dramatic Company faced its fair share of challenges during its establishment, while Rocha, its leader, sought stability. In 1931, internal conflicts arose between Emidio Salilor and Luis Borges, two popular composers and singers of the theatrical company, resulting in the departure of some members. However, Rocha promptly replenished the group with new members, including Anthony Vaz, J. R. Fithna, Anthony Tulu, M. C. Correia, J. P. Souzalin, Souza Ferrão, Franco, C. Brazil, Manny Luis, and B. Vaz. This resurgence propelled the Union Jack Dramatic Company forward with renewed enthusiasm. Rocha, a firm advocate of discipline, commanded the respect of his colleagues, who bestowed upon him the title "Saib Rocha" out of admiration, despite his preference for the simpler moniker A.J. Rocha. Throughout his career, Rocha authored and produced approximately 60–62 original Konkani tiatrs between 1916 and 1941.
As a student of drama, Rocha developed a particular affinity for the works of William Shakespeare. In 1935, he undertook the translation and production of Romeo and Juliet in the Konkani language. Rocha extensively toured with the Union Jack Dramatic Company, leaving an imprint on various locales. Portuguese newspapers of the time documented the troupe's visit to Goa in 1926, where they staged tiatrs at the Eden Cinema Theatre in Pangim and the Clube Harmonia Hall in Borda, Goa. Having already established their reputation in Bombay, they were warmly received in Goa, garnering substantial coverage in local newspapers. Consequently, the group was compelled to host repeat performances in both Pangim and Margão in 1927. While Rocha occasionally assumed acting roles in his tiatrs, his primary focus lay in directing. Notable appearances include his involvement in Jinnu's Imperador Carlos Magno Ani Bara Par Fransache, presented by the Union Jack Dramatic Company at the Princess Theatre Bhangwadi, Bombay on 3 December 1929, and Carcus Sailor Boy's White Rose Garden Vo Dhovea Gulabachi Bag in 1934. Rocha dedicated himself to the Konkani stage with an open mindset and progressive ideas, recognizing the distinct roles of playwriting, directing, and acting within the realm of theater.
Among Rocha's most popular tiatrs, which he both authored and directed, are Dubavi Ghorcarn, Noketr Italia Xarachem, Gupit Cazar, Mog ani Krim, Calsad Nouro, Ghor-Zanvoim, Son of Jeruzalem, Aunkarancho Sounsar, and Romeo & Juliet. Significant performances include the staging of Rocha's own tiatr Doth at the Princess Theatre Bhangwadi on 14 April 1931, which marked the debut of actress Miss Georgina Souza. Mea Culpa was presented at the Victoria Theatre in Byculla, Bombay, on 17 November 1931, followed by Mr. Bardez ani Mr. Salcete at the Princess Theatre Bhangwadi on 2 December 1932. Existing records indicate that Rocha's tiatr First Prize was performed by Souza Ferrão in Navelim, Goa, on 16 November 1932. After a brief stint in Karachi, Rocha returned to Bombay in 1934 and showcased Share Holders Night at the Royal Opera House on 8 April. This particular tiatr garnered attention from dignitaries, including His Excellency, The Counsel of Persia. On 10 June 1934, Rocha presented Son of Jeruzalem at the Royal Opera House, followed by Visronk Dukh-Khont on 3 December 1934. A revival of Son of Jeruzalem took place at the Princess Theatre Bhangwadi on 11 January 1948.
On 25 December 1935, Rocha presented his play Dubavi Ghorcarn at the Royal Opera House in Bombay, followed by a repeat performance at the Baliwala Theatre in Grant Road, Bombay on 22 April 1946. Subsequently, on 25 February 1936, he staged Addangi Choli ani Patrador Cholo, and on 18 May 1936, he showcased Dona Enestina vo Sounsar Jiklim Hanv at the Princess Theatre in Bhangwadi, Bombay. Rocha had previously staged another play, titled Ek Oklek Teg Noure, at the same theatre in 1935. Continuing his creative endeavors, on 4 October 1944, he organized the production of Sezareachim Kizilam at St. Xavier's College Hall in Dhobitalao, Bombay. Rocha consistently demonstrated a prolific output, producing an average of two new tiatrs each year, with each production undergoing approximately six months of rehearsals. Known for their educational value and high artistic standards, Rocha's tiatrs garnered recognition for their quality performances.
Despite encountering skepticism and criticism from the elite Goan community in Bombay, Rocha tenaciously pursued his mission of elevating the standards of Konkani theater. He maintained a dedication to his craft, even during periods of discouragement resulting from relatively low audience turnout, writes Mazarello. In line with other prominent figures in the field, Rocha also made significant efforts to promote female participation in performances. Alongside his wife Ermeline, he introduced Miss Georgina in Doth in 1931 and again in 1934, followed by the introduction of Miss Carlota in his tiatr Son of Jeruzalem in 1934. Additionally, Rocha featured his wife Ermeline in several of his tiatrs. Mazarello further writes, some aspects of Rocha's productions included the elaborate and visually stunning sets, as well as the meticulous direction employed. Rocha's dedication to his craft extended beyond Bombay, as he embarked on tours with his troupe, performing in various cities such as Karachi, Calcutta, Poona, and Goa.
Even in his later years, Rocha's passion for dramatic arts remained undiminished. When approached by contractors seeking to restage his tiatr Mog Ani Krim, Rocha enlisted the directorial expertise of Remmie Colaço. The play was subsequently performed at Victoria Gardens in Byculla, Bombay on 3 November 1963. Similarly, Rocha's Ghor Zanvoim was restaged under the direction of Alfred Rose at St. Mary's Hall in Mazagaon, Bombay on 15 August 1964. During his time in Goa, Rocha collaborated with M. Dod de Verna to stage his tiatrs Dubhavi Ghorcarn, resulting in several performances of the play held in Goa in May 1966, featuring the Young Stars of Goa troupe. Despite health concerns limiting his ability to write new tiatrs, Rocha maintained an enthusiastic spirit and entrusted his plays to various contractors and emerging directors such as Remmie Colaco, Alfred Rose, and Dod de Verna. Konkani historian, Wilson Mazarello, acknowledges Rocha as a missionary figure whose contributions to Konkani tiatr and its artists are of utmost significance.