Prince Jacob’s 75th production ‘Sant Padre Pio’ throws light on the saintly life of Padre Pio, with a lot of creativity and depth in the entire presentation. His teenage and youthful life, the temptations all along and miracles that followed thereafter have been beautifully depicted on the stage.
The curtains unfold to a scene wherein Grazio (Baptist) and Maria (Valency) are in conversation with each other and the former paves his way to the fields in order to sustain the family. A little later, the couple’s son Francisco (Melbon) comes rushing, complaining about a dog attacking him and Maria provides a beautiful piece of advice to fight against the evil.
Francisco expresses his desire of becoming a priest with his mother and she shares it with her husband. Initially, there’s reluctance and then the thought of going abroad to make ends meet.
Finally, as a youth, Francisco (Elvis Mascarenhas) finds his way to the religious house and he is welcomed by Padre Camilo (Jacinto) and Padre Agostinho (Luciano). After accepting and wearing the religious garments, Grazio and Maria are overjoyed.
Then the audience gets to see the life of Padre Pio in the monastery with the other members of the community. The challenges, sufferings faced by Padre Pio, the miracles that follow when still alive and the stigmata are the highlights of the drama.
In yesteryears, late J P Souzalin had the capacity of mesmerizing the audience with his thought-provoking tiatrs during Lent and today Prince Jacob is following in his footsteps. The scenes in the production standout, with multiple backdrops and each creative scene enriches the acts.
Apart from good performances, enhanced by impeccable costumes of that era, there’s seamless execution of Padre Pio floating in the air and the shadow acts that leave the audience spellbound. Each of the artistes, right from teenager Melbon to Elvis Mascarenhas as youth and then Padre Pio executed by Anthony San, there is charm in every detail. As guardians, Baptist and Valency enacted their roles with ease, besides more roles to follow. Briscila has been projected as a villain. Celeste and Evola have extended good support.
As friars in the monastery, Jacinto and Luciano as priests and Prince Jacob and Kenny as brothers entertain in their own respective characters. The comedy has been integrated into the main narrative to create the natural flow and the humor is decent, thus generating genuine laughter among the audience. The concluding scene looked a bit abrupt and the death of Padre Pio would have definitely enhanced the drama.
In the category of songs, the opening is rendered by Anthony San, followed by decent songs from Avers Pereira, Prince Jacob (a tribute to late Fr Antonio Pereira). There are other songs from Melbon and Valency, Boni, Baptist and Avers, Ave and Boni Alvin, Elvis and Briscila, and Evola, Baptist, Celeste and Valency. A comedy song by Prince Jacob and Evola receives an encore. Ave has made a comeback on stage after many years and he renders a solo on ‘Goycho Saib’. Being a religious presentation, political songs have been kept at bay.
Undoubtedly, ‘Sant Padre Pio’ is truly a cohesive work of art and a must-watch by all tiatr enthusiasts, including families, that will leave a lasting impression on the minds of the young and the old.