The story revolves around Mathew (Ulhas Tari), his spouse Cynthia (Antonette de Maina) and their two grownup children, Mark (Vilber) and Sheenel (Shenaya). There’s George (Satyawant Tari), the brother of Cynthia, who drops in and visits the family.
The eldest son in the family is married to Samaria (Dolcy), while the only daughter weds Reuben (Francisco). Soon after Sheenel’s marriage, trusting his children, Mathew decides to give away his property to both his offspring.
Mark and Sheenel along with their spouses are content after receiving their share. But after the contentment, trouble follows in the family.
Samaria cannot stand her aging in-laws and has several complaints reported to her husband. Before things get out of hand, Cynthia advises her spouse that they should step out and they both decide to move to their daughter.
While putting up with Sheenel and their son-in-law, allegations follow and when Mathew and Cynthia cannot stand it any longer there, they bid goodbye, only to find shelter on the streets. What follows next is worth the watch during the second half of the drama.
Ulhas Tari’s tiatr ‘Ho Inam Koslo?’ is a family melodrama with fine script and sleek direction. It throws light on old age and the second childhood experienced by the aged in the family.
All the artistes have given the best of performance. Ulhas Tari and Antonette de Maina stand out as the aging parents. They are ably supported by Shenaya, Dolcy, Vilber and Francisco. With brief entries, Satyawant Tari plays a convincing role. Same is with Johnny de Candolim as Munna, who is comfortable making a cameo.
In the comic acts, there’s comedian Caetano, Rizton and Princey entertaining with their laughter pills. They are supported by Rosario de Benaulim, Agusto de Calangute and others. Check the scene at the ENT clinic and the ‘Big Boss’ entertainment.
In the section of songs, Francisco renders the opening song, followed by solos from Rosario de Benaulim, Agusto de Calangute, Peter de Arambol and Baltazar Pontes. Songs by Shenaya and Francis de Tuem receive encores. There are songs by Shenaya and Princey and Francisco and Shenaya. A trio and a quartet went amiss in the show. Alex and his team of boys have provided good live music and elevated the spirit of the singers on stage. Arif has also assisted with background music on the keyboard.
The stage sets are worked upon by Anthony de Ambaji, while Fletcher Vas handles the lights tactfully.