Lucasinho Ribeiro

Costâncio Lucasinho Caridade Ribeiro (2 January 1863 – 23 January 1928) was a Goan playwright, theatre director, actor, singer, and composer known for staging the first teatro Italian Bhurgo (Italian Boy) on 17 April 1892 in Bombay. Known as the originator of Konkani tiatr, he also staged the first teatro at Assagão, Goa on 1 January 1894.

Early zagor and khell tiatrs
During the 19th century, Goa was known for its theatrical performances called zagor and khell. These musical plays were staged outdoors in various public spaces such as street corners, village centers, and open areas. Zagor was primarily popular in North Goa, particularly in Bardez, while khell found its audience in South Goa, particularly in Salcete. Initially, these performances focused on social themes and were free from controversy and negative criticism. However, towards the end of the 19th century, the zagor form of entertainment gained popularity in Bombay, attracting the interest of North Goans. Unfortunately, this form of entertainment was considered crude and vulgar, leading to the embarrassment of the more affluent Goans residing in Bombay. They faced ridicule and mockery from non-Goans, which prompted the middle and upper classes in Bombay to shift their attention to English and Portuguese dramas.

Role in Italian Opera Company
In 1890, while zagor was still prevalent in Bombay, an Italian Opera Company arrived in the city, staging performances of great quality in renowned theaters. These Italian operas boasted well-crafted storylines, impressive musical compositions, skilled direction, elaborate stage designs, captivating costumes, and stunning lighting effects. These productions garnered a significant following, including some well-to-do Goans. It was during this time that a young 27-year-old named Ribeiro, hailing from Assagão, Bardez, Goa, arrived in Bombay in search of employment. Ribeiro possessed a deep passion for music and stage arts and was disheartened by the state of Goan entertainment. Comparing the subpar quality of Goan performances to the excellence of the Italian Opera Company, Ribeiro felt inspired to make a change. However, Ribeiro faced numerous challenges in a bustling city like Bombay, where he had limited education and few opportunities. Undeterred, he pondered over the differences between Goans and the producers of Italian opera. He questioned why Goans couldn't create dramas of comparable quality and resolved to take action. Through his network, he managed to secure a job with the Italian Opera Company, initially working as a curtain puller and caretaker or a stagehand. Although the position offered a modest salary, Ribeiro embraced it eagerly, as it provided him an opportunity to immerse himself in the world of theater, observe talented artists, and enjoy splendid music.

Italian Bhurgo and other plays
During his time with the Italian Opera Company, Ribeiro traveled extensively with the troupe, visiting cities such as Poona, Madras, Simla, and Calcutta. However, when the company planned to journey to Burma, Ribeiro made the decision to resign and return to Bombay. By this point, he had acquired a deep understanding of one of their operettas, memorizing both the script and music. Additionally, he had taken the initiative to purchase used costumes from the company, further preparing himself for his future endeavors upon his return to Bombay. Upon his return to Bombay, Ribeiro authored the inaugural Konkani tiatr, which was a translation of an Italian operetta by the Gonzalez Brothers. Named Italian Bhurgo, this marked the genesis of the Konkani theatrical tradition. Ribeiro forged a partnership with Caetaninho Fernandes, a young resident of Taleigao, who not only joined Ribeiro's troupe but also aided in the recruitment of additional artists. Caetaninho, employed as a clerk at the Bombay Gazette, played a pivotal role in expanding the group's talent pool. The tiatr necessitated a team of nine performers, each assuming multiple roles.

Consequently, Ribeiro, Caetaninho, and João Agostinho Fernandes, a young man from Borda, Margão employed at a pharmaceutical company in Bombay, embarked on a quest to enlist more artists. Their pursuit was fraught with difficulty due to the negative reputation associated with Goan zagors, which dissuaded potential participants from engaging in Konkani entertainment. However, their tenacity paid off, and two additional Goans, Agustinho Mascarenhas from Mungul, Margão, and Fransquino Fernandes, were recruited. With a modest ensemble of five, they laid the foundation for the inaugural staging of a Konkani tiatr. Diligently, they convened for rehearsals each evening after their respective work commitments near the Round Bungalow on Picket Road in Bombay. Only when they were entirely satisfied with their preparations did they fixate on a date for their maiden performance. On 17 April 1892, the first-ever Konkani tiatr, Italian Bhurgo (The Italian Boy), written and directed by Ribeiro, was showcased at the New Alfred Theatre in Bombay. This historic occasion marked the advent of modern-day Konkani tiatr. The audience was enthralled by the production's music, narrative, songs, and the authentic velvet costumes borrowed from the Italian Opera era Company. The tiatr's success catapulted the group to prominence, leading Ribeiro to christen them the Goa Portuguese Dramatic Company.

Buoyed by their initial triumph, Ribeiro undertook further translations of plays into Konkani, including works such as Alladin Ani Tacho Ojeapancho Divo (Aladdin and the Wonderful Lamp), Alibaba ani Cheallis Chor (Ali Baba and the Forty Thieves), and Carlos Magno (Charlemagne). Ribeiro's proficiency in English facilitated precise renditions of these classic English novels in Konkani, which were met with acclaim. The enduring popularity of Konkani tiatr became evident as it garnered support not only in Bombay but also in Goa and among Goans residing elsewhere. Ribeiro, the visionary behind Konkani tiatr, played a pivotal role in introducing this art form to Goa. While historical records from Assagão, Bardez, Ribeiro's birthplace, confirm that the first Konkani tiatr in Goa was staged in Assagão in 1894, it remains uncertain whether the performance was Italian Burgo or one of the other three plays translated by Ribeiro. This milestone event took place on New Year's Day, 1 January 1894, and featured artists such as Napoleanv, Manuel Jose Fonseca, Zeferine Andrade, Tolentino Fonseca, and L. J. Rapose. The musical accompaniment for this tiatr was provided by Mestre Gabriel Franco. Subsequently, Ribeiro went on to produce numerous tiatrs at Sokol-Vaddear in Assagão, Goa.

Introduction of teatro in Goa
The Konkani tiatr originated in Goa under the leadership of Ribeiro, marking him as the first Goan to introduce this theatrical form in the region. As Ribeiro's influence grew, the Konkani tiatr gradually spread to other parts of Goa. Another significant figure in the development of the Konkani tiatr was João Agostinho Fernandes from Borda, Margao. Inspired by Ribeiro, Fernandes began writing and staging tiatrs in Bombay, where he honed his skills under Ribeiro's tutelage. While Ribeiro focused on translating established English and Portuguese plays into Konkani, Fernandes distinguished himself by creating original tiatrs. Fernandes openly acknowledged Ribeiro as his mentor in Konkani tiatrs, as evident in his writings for Konkani newspapers of the time, such as Ave Maria. One notable production by Fernandes was Batcara, which premiered on 22 November 1904, at the Gaiety Theatre in Bombay. The play featured Ribeiro as one of the actors, alongside Policarpo Mendonca, N.M. Fernandes, Anton Abranv, and Regina Fernandes, who became the first Goan woman to perform in Konkani tiatrs.

Closure of Ribeiro and Cruz Opera Company
The success of these early pioneers led to the formation of several new tiatr groups, reflecting the growing popularity and interest in the Konkani tiatr. Among these groups were Lusitan, Dona Amelia, Don Carlos, Douglas Cornic Opera, Karachiwallas Delectable Company, Goan Union, Lazarus Comic Opera, and Goa Nacional. However, conflicts and jealousy emerged among Ribeiro's group members, possibly influenced by external factors. Ribeiro, swayed by rumors spread by gossip-mongers, ultimately abandoned his long-time colleagues, including Caetaninho Fernandes, João Agostinho Fernandes, Agostinho Mascarenhas, and Fransquino Fernandes. He formed a new group called the Ribeiro and Cruz Opera Company, leaving his former colleagues without guidance.

This period also witnessed the rise and subsequent decline of numerous Konkani drama/opera companies. While some, like the Union Jack' Drama Company led by A.J. Rocha, lasted longer, many others closed down within a few years, including the Ribeiro and Cruz Opera Company. After its closure, Ribeiro appears to have ceased translating English plays or producing new works in Konkani. Despite his continued involvement as an actor in João Agostinho Fernandes's productions in later years, there is no record of Ribeiro's own productions during this period. Although Ribeiro possessed a substantial collection of written material, including tiatr scripts and related documents, stored in a wooden box at his home in Assagão, Bardez, the fate of this box remains unknown. It is presumed that it may have been destroyed by pests or stolen. Konkani Historian and singer Wilson Mazarello writes, the loss of this valuable material deprives us of a deeper understanding of Ribeiro's artistic vision and contributions to the Konkani tiatr. Towards the end of his career, Ribeiro wrote and directed five tiatrs, including works such as Italian Bhurgo, Alibaba ani Cheallis Chor, and Carlos Magno. He was also a composer and singer of tiatr songs. In addition, Ribeiro continued his acting career, appearing in both his own productions and those of João Agostinho Fernandes.

Marriage and children
Ribeiro was also a multi-talented artist, known for his skills as both a painter and a portrait artist. The artistic prowess of Ribeiro was acknowledged by the Portuguese government, leading to a commission to create portraits of two former governors. This recognition bestowed upon him was an honor and a testament to his artistic work. However, Ribeiro's primary creative passion laid in the world of Konkani tiatr, a form of Goan theater. He remained committed to this art form throughout his life. Ribeiro was wedded to Filomena de Souza, and together they bore three sons: Caetano Paulo, Teofilio, and Joaquim Menino. Caetano Paulo Ribeiro and Joaquim Menino Ribeiro, the latter commonly referred to as "Jack," embraced their father's vocation and took to the stage in tiatrs, upholding the family tradition in the performing arts. Jack's occupation extended to that of a commercial artist, involved in crafting posters and portraits specifically for tiatr performances. This proficiency garnered him the title of "painter J. Ribeiro" within the tiatr community.