17 years on, ‘Hanv Kallokhant Sandllim’ stands the test of time

Although it was written 17 years ago by the late Rosario Rodrigues, ‘Hanv Kallokhant Sanddlim’ (I got lost in the dark) has been resurrected this season by the popular playwright’s wife, Carmina Rodrigues, and well-wishers. The theme of this non-stop Konkani drama is pretty clear-cut: a virtuous life will always triumph over wicked ways.
‘Hanv Kallokhant Sanddlim’ taps a form of tiatr that evolved from the traditional carnival ‘khell’ and gradually grew from strength to strength during the ’80s and ’90s.
Rosario had conceptualised his non-stop drama around the life of Hycintha, a character assayed by the flamboyant Genice Gracias. Although she was engaged to marry Rishab (Manuel Dias), he travelled overseas in search of employment, never indicating when he would return. This prompted the distraught Hycintha to find love in Heizy (Maxcy Pereira), the only son of a powerful businesswoman (played by Angela Moraes). And despite vehement opposition from his mother, Heizy forsakes all his wealth and inheritance to marry Hycintha.
While the newly-wed Heizy soon realizes that life without his mother’s financial support is difficult, his love for Hycintha helps him tide over adversity. The couple is subsequently blessed with a daughter (Baby Avila).
But then, the unannounced homecoming of Rishab, who has amassed a fortune after working in Europe – throws their lives off-balance. Mesmerized by Rishab’s newfound wealth, Hycintha walks out on Heizy, even as the couple’s friend, Dr Romeo (Satyavan Tari) spares no efforts to reconcile them.
Reason finally dawns on the errant Hycintha, but is too late for a patch-up? How the plot culminates is what makes ‘Hanv Kallokhant Sanddlim’ worth watching.
Being a non-stop drama, the tiatr has no kantaram, barring two solos – one by Ashton and the other by Ophelia D’Souza - and an opening song by Cliff Furtado.
The comedy serves as a perfect complement to the storyline. Ashton as King Kong and Seby as Jose Martin are commendable. And although Cliff Furtado has a relatively lesser number of onstage appearances, his stellar portrayal of the character, ‘mama’ – complete with intonation and dialogue delivery – brings back fond memories of the late Rosario.
Angela Moraes - with over four decades of experience on the tiatr stage under her belt - displays great class in her enactment of Heizy’s entrepreneurial mother. Maxcy Pereira in the lead role of Heizy, Manuel Dias as Hycintha’s paramour, Baby Avila as the little daughter, and Satyavan Chari as the family friend also deliver impressive performances. Yet, it is the charming Genice Gracias who takes the honours for her amazing portrayal of the disgraced Hycintha.
Viewers are treated to a novelty even before the tiatr commences, and, that too, by the band. Trumpeter Cruz de Sanvordem turns on his heel to face the people and serenade them, much to their delight. He is ably assisted by Agnelo de Verna on the second trumpet, Jollan D’Souza on the keyboard, Rafael Pereira on the bass guitar and Agnelo de Moira on the drums.
The lighting effects are planned and executed by Joao Antonio.
Know the director
Carmina Rodrigues, widow of the late Rosario Rodrigues, was never really involved in her husband’s tiatr ventures. It was Menino de Bandar, a fellow Bannavlekar (native of Benaulim) and tiatrist of repute, who urged her to present a drama scripted by her husband. Menino even volunteered to employ his own troupe as its cast, thereby making ‘Hanv Kallokhant Sanddlim’ a fitting tribute to the great contributions of Rosario in the field of Konkani drama.