The script was written by Prof. Prakash Vazrikar and the play was directed by Nilesh Mahale. It is only the second time it has been staged, the first time being at Kala Academy in 2008. Plans are afoot to turn it into a full fledged commercial production.
This remarkable interpretation of the Ramayana uses the numerous traditional folk dances of Goa to tell the story of Rama. The Dhalo, Ghoddemoddni, Murulo, Talgaddi, Gudulya Gani, Taranga, Gof, Fugddi, Perani-Zagor and even the Mando feature in this performance. It was surreal to hear Sita longing for Rama when Hanuman asks her for a memento to take back to Rama – she sings...aimorecho vellu comesar zalo….
Ravana abducts Sita, a powerful scene with raging flexed muscles and tearful anguish in dramatic contrast.
A character in the traditional Perani Zagor, the oldest form of theatre in Goa, walks on stilts as effortlessly as on the ground.
‘Ani Ek Butto Fullo', 'Gattan Konachem', 'Kanni tashi Junich', 'Sad Antar Manacho', 'Ani Ek Prashna Parva' and 'Partiche Vatter' are some of his earlier dramas. Vazrikar has done his Post graduation in Konkani, Marathi and Philosophy and is presently the head of the Department of Konkani of Government College, Kandola. He is also on the Advisory Board of the Konkani panel for the Sahitya Akademi, Delhi.
The musical instruments used included traditional instruments like the dhol, shimell, tashe, ghumot, tabla to create lively percussion moods.
One rare instrument is the dhoulli mandd, comprising of a hollowed wooden plank on which the ends of two doulle handles (a doullo is a ladle made from coconut shell) are rubbed in opposite directions to create a grating sound. This instrument falls in the membraphonic class of instruments (those using a membrane to produce sound)and is traditionally used during Ganesh Chaturthi celebrations in Goa.