H. Britton

Hermegildo Camilo (born Hermenegildo Camêlo; 16 October 1935 – 29 September 2009), known professionally as H. Britton, was an Indian singer, actor, lyricist, composer, playwright, director, and producer who worked on the Konkani stage. A versatile performer, Camilo is best known for portraying female characters in tiatr productions, and has also composed more than 700 songs.

Early life
Hermegildo Camilo, originally named Hermenegildo Camêlo, was born on 16 October 1935 in Agaçaim, Goa, which was part of Portuguese India during the Portuguese Empire (now in India), to Francisco Camelo and Maria Augusta Cardoso who hailed from Ribandar.

Camilo made a significant move to Bombay (now Mumbai) in order to pursue his acting career. During his time in Bombay, he actively engaged with different theater troupes, dedicating a major portion of his life to this city alongside his wife and two children. Although he primarily resided in Bombay, he would occasionally travel to Goa specifically for his tiatr shows. As time went on, Camilo eventually decided to permanently settle in Britona, Bardez, located in the state of Goa.

Career
During the late 1960s, Camilo participated in an annual tiatr performance organized by the residents of Britona on the occasion of the feast of Our Lady of Penha de França. Specifically traveling from Bombay (now Mumbai) to attend the village celebration, Camilo's presence was announced, generating much anticipation among the audience, which consisted of over 600 tiatr enthusiasts. The villagers held Camilo in high regard, as he had not performed in a tiatr production for four years, making his return a highly anticipated event. When Camilo took the stage, he delivered a humorous song that elicited uproarious laughter from the entire audience. The crowd continuously called for an encore, expressing their admiration through applause and whistling.

According to Tomazinho Cardozo, a former president of the Tiatr Academy of Goa, Camilo's second song was exceptional. In this performance, Camilo portrayed a female character, captivating the audience with his distinctive style, including his attire, body language, gestures, and facial expressions. Cardozo describes Camilo's portrayal as that of a flawless young lady who humorously criticized the boys in her song. Despite the playful criticism, the boys in the audience enthusiastically called for Camilo to return to the stage for multiple encores. Cardozo refers to Camilo as "Hermegildo," as he was highly cherished by the residents of Britona during that period. It is worth noting that even though Camilo had gained significant recognition as an artist under the name "H. Britton" on the tiatr stage in Bombay, the villagers of Britona still preferred to address him with his first name "Hermegildo." Cardozo asserts that Camilo's singing, dancing, and portrayal of female characters were unparalleled in tiatr history, establishing his dominance as a female artist for an extended period despite the occasional breaks to pursue better opportunities abroad.

Camilo, upon his return, reembraced his passion for tiatr. Known for his vocal abilities, acting prowess, and lyrical talent, his compositions were characterized by their thematic depth, clever wit, and delightful humor. Camilo's creative repertoire encompassed over 700 original songs, complemented by his collaborations with tiatr artists such as M. Boyer and Jacinto Vaz. In addition to his musical contributions, he also ventured into playwriting and directing, showcasing his versatility within the realm of full-length tiatrs. His inaugural tiatr production titled Ekvottachem Foll achieved success.

Among Camilo's popular tiatrs that resonated with audiences were Custom Officer, Jivit Kuwaitchem (Life in Kuwait), Bebdo Put (Drunkard Son), and Bunhad Naslolem Ghor (House without Foundation). However, it was as a singer that he was known among the populace. His discography boasted numerous albums, with songs like "Bandra Festac", "Marialina", and "Pandu Lampiaum" transcending time to become facets of the cultural heritage. Cardozo writes, Camilo's contribution as a "female" artist in the tiatr domain was invaluable, particularly during periods characterized by a scarcity of female performers. By assuming roles traditionally assigned to women, he played a pivotal role in preserving the vitality of Konkani tiatr, ensuring its enduring prominence as a dynamic dramatic art form in Goa.

Style and reception
O Heraldo writes, Camilo left a mark on the world of entertainment with his unique artistic style and vocal talents. He excelled in the portrayal of female characters, a practice that was considered socially unconventional during the period in which he thrived. Camilo's on-stage presence was characterized by his comedic persona, often evoking uproarious laughter from audiences as he donned vibrant sarees. His vocal versatility was truly remarkable, effortlessly transitioning between male and female registers with skill. Such was his mastery of female mannerisms that he occasionally prompted mistaken identity, with spectators genuinely perceiving him as a woman.

Death
On 24 September 2009, Camilo, died at his residence in Penha de França, Goa, after a brief illness. His funeral took place three days later at Britona Cemetery. A large number of individuals gathered at Camilo's residence to pay their final respects to him.

Among those who paid their last respects to Camilo were prominent politicians such as Dayanand Narvekar, the MLA of Aldona, and Dr. Wilfred de Souza, the Vice Chairman of the Goa State Planning Board. Moreover, numerous personalities from the tiatr community attended the funeral. Individuals among them included Tomazinho Cardozo, the President of the Tiatr Academy of Goa, Prince Jacob, Cyriaco Dias, Sabina Alvares, Adv Mike Mehta, Anil Kumar, Bond Braganza, Jessy, Diana, Sabina Alvares, Mario Menezes, Osvi Viegas, Patrick Dourado, Xavier Paclo, Xavier Mascarenhas, C. D'Silva, Bab Andrew, Boneventur DPetro, Maestro Agnel, and Anceto Lawrenco.

Reactions
Camilo was mourned by the then Chief Minister of Goa, Digambar Kamat, who expressed his condolences and acknowledged the significant loss his passing represented. Kamat recognized Camilo as one of the towering personalities of Goan tiatr and lamented the void created on the Konkani tiatr stage that would be difficult to fill. He extended his sympathies to the bereaved family.

Tomazinho Cardozo, who had a four-decade-long association with Camilo, praised him as a highly talented artist who had captured the hearts of the masses. Cardozo specifically highlighted Camilo's portrayal of female roles and emphasized that his contributions to tiatr would be forever remembered by fellow tiatrists. In an interview, Cardozo further emphasized the profound impact of Camilo's demise on the Konkani tiatr stage, describing him as one of the most gifted artistes in the field and a seasoned tiatrist. Cardozo commended Camilo's five-decade-long service to the Konkani tiatr stage, noting his contribution to its development. He also lauded Camilo's vocal abilities as a singer and his talents as a lyricist, with his songs characterized by wit and humor that captivated tiatr lovers in Goa and beyond. The Tiatr Academy of Goa also expressed their condolences.

Prince Jacob acknowledged Camilo's artistic prowess and his ability to mesmerize audiences with his captivating voice. Jacob credited Camilo with making significant contributions to the advancement of Konkani tiatr. He further acknowledged Camilo's unique talent for portraying female characters, a skill seldom seen among younger artists. Jacob described Camilo as a straightforward and compassionate individual, underscoring the tremendous loss his departure represented for the industry.

Cyriaco Dias highlighted Camilo's multifaceted talents as a lyricist, singer, and director. Recalling their collaboration in the 1960s, Dias mentioned the admiration Camilo received for his portrayal of female roles and commended his skill as a humorist.

Advocate Mike Mehta regarded Camilo as a stalwart of the tiatr industry, noting his ability to select subjects for his songs that resonated deeply with the public and gained widespread popularity. Mehta mourned the loss of the stage artiste and emphasized the irreplaceable void left by Camilo's departure, deeply affecting tiatr enthusiasts.

Leslie Pereira, a stage actor who had worked closely with Camilo, expressed his grief, acknowledging Camilo's talent in portraying female characters. Similarly, Albert Cabral expressed doubt that anyone could match Camilo's expertise in dressing up and imitating women. Both Pereira and Cabral anticipated the enduring impact of Camilo's absence. Theatre director Roseferns hailed Camilo as a legendary figure and a cherished friend among his tiatr colleagues.

Select discography

 * Bandra Festac (1971)
 * Pandu Lampiaum (1971)
 * Marialina (1982)