Prince Jacob: Weaving Faith into the Goan ‘Tiatr’ Stage

Br Malvino Alfonso OCD –

Goa’s tiatr stage has long reflected the humour and stories of family life, social struggles, political issues, and everyday comedy.

Tiatr is a popular form of Goan Konkani drama, The first Tiatr “Italian Bhurgo” was written by Lucasinho Ribeiro and staged in Bombay on 17th April, 1892. This Tiatr was an adaptation of the Italian Opera called ‘Italian Boy’.

When Mr. Ribeiro encountered difficulties for setting up the stage for different scenes in the play, as time would be wasted during the change of setting, which could bore the audience, he thought of introducing songs in front of the curtain while the stage was being set for the next scene behind the curtain. He did it and succeeded in his first attempt. And this format came to be known as ‘Tiatr’.

Yet very few artists have stepped into the delicate and profound realm of spirituality and faith. While many tiatrists restrict such productions to the Lenten season, Prince Jacob does not wait for Lent to proclaim his faith on stage. Among his contemporaries, he stands out—not only as a master of comedy but also as a playwright who has given devotional tiatr a distinctive place in Goan theatre.

With an illustrious career spanning more than four decades and 77 tiatrs to his credit, Prince Jacob (Miguel Jacob Carmo Luis Fernandes) has explored themes ranging from social commentary to deep reflections on the lives of saints and other spiritual subjects. His landmark works include Padri, Padri Monis Nhoi?,  Sant Anton: Milagrincho Sagor, Padr Jose Vaz,  Goycho Saib – Sant Francis Xavier, Sant Padr Pio, and his upcoming Fatima Saibinn Bhorvanxeachi Maim set to premiere in October 2025.

Known for his punctuality and discipline both on and off stage, Jacob also served as the second president of the Tiatr Academy of Goa. He has worked as a celebrity RJ with 92.7 Big FM and Radio Midday. The title “Prince Jacob” was bestowed upon him by the late Fr. Antonio Pereira, SJ, an eminent Konkani writer.

For Jacob, the journey into devotional tiatr began with Padri (A Priest), a play on the life of a priest. The production became a phenomenal success, clocking nearly 350 shows and carving its name in the history of tiatr.

“Some may not classify it as a purely religious/ devotional tiatr,” Jacob admits, “but it was deeply appreciated by the audience. It even inspired a film. That response made me realize that people value such themes and their messages.”

Encouraged, he went on to write Padri Monis Nhoi? (Isn’t the priest a human being?), a continuation of his earlier success. Looking back, Jacob considers this creative path more than a professional choice—it was a personal calling. “For me, it was a call from God to write tiatrs based on religious themes,” he says with conviction.

One of the works closest to Jacob’s heart is Gõycho Saib based on the life of St. Francis Xavier. “I enjoy working on such themes because they allow me to use a lot of creativity. Different scenes can be depicted, and people appreciate them. If I can use tiatr as a medium to proclaim my faith and my religion, that in itself is wonderful.”

Over the years, a couple of congregations and institutions have also approached him to write tiatrs on their founders and holy men and women—an affirmation of the trust placed in his spiritual and artistic vision.

Writing devotional tiatr, however, comes with unique challenges. Unlike social or comedy-based works, the process requires rigorous preparation. “I have to do a lot of research,” Jacob explains. “I read extensively, study articles, and go through media reports.

The biggest challenge is the comedy—an essential part of any tiatr. I have to think a hundred times before including a comic scene in such plays. I always pray to God to inspire me with the right ideas.”

Faith, for Jacob, is not just a subject but also the foundation of his work. He believes that balancing drama, music, and spiritual depth requires discipline in his own prayer life.

“To write tiatrs on these themes, I must remain faithful to prayer, Mass, and the sacraments. This is God’s work, and He alone provides the strength to do it,” he says. Before rehearsals begin, Jacob always organizes a special Mass in which all his co-artists participate. Even the placement of songs is carefully planned, ensuring they enhance the spiritual flow of the narrative.

Despite his success, Jacob has faced doubts and disappointments along the way. He recalls staging Sant Padr Pio in a city where barely 250 people turned up. “But I was not disappointed. I told myself, maybe God doesn’t want me to chase popularity or profit, but to proclaim Him through my work.”

His perseverance was rewarded when the same tiatr later found an enthusiastic response across 70 parishes. “Tiatr is the best medium to proclaim our religion and our faith,” he asserts.

Criticism has followed him too. “Some say, ‘Prince Jacob only writes religious tiatr. He just wants to influence priests.’ Let them talk,” he remarks calmly. “Why should I limit myself only to the Lenten season? I want to proclaim Christ all year round. Writing on saints and spiritual themes requires much more effort, but in the process, I have learned so much about my faith.”

For Jacob, the most rewarding moments come when viewers share how his plays have touched their lives. After watching Sant Padr Pio, one woman was so moved that she began reading a book to learn more about the saint. Others told him the play revived memories of their visits to Padre Pio’s shrine.

“Such responses make me happy,” Jacob reflects, “because the tiatr becomes more than entertainment—it becomes a spiritual experience.”

Music, too, carries a vital role. Jacob ensures that the kantaram (songs) in his devotional tiatrs are rich in meaning. “My aim is to give a spiritual message through the tiatr,” he says. “So the songs must carry powerful lyrics that leave the audience with something to reflect upon.”

What about the future of devotional tiatr in Goa? Jacob remains optimistic. “I am not worried,” he says firmly. “I will continue to proclaim my faith and God through this medium. The future depends on how these tiatrs are presented and who is presenting them. For me, working on these themes has strengthened my own faith while allowing me to proclaim it to others.”

He is also conscious of the need to reach younger audiences, who may not be familiar with saints or biblical stories. “It is my duty to present the lives of saints to the youth,” Jacob insists. “Through tiatr, we can reach out with stories that are inspiring and engaging. I will continue to do this as part of my mission.”

To his fellow playwrights and performers, Jacob offers a simple but firm message: “Always present a good, decent tiatr with a strong script and a powerful message.”

For Prince Jacob, tiatr is more than craft—it is vocation. Whether it is comedy that makes audiences laugh or devotional themes that move them to prayer, his work carries an unmistakable purpose: to inspire, to teach, and to proclaim faith.

With Fatima Saibinn: Bhorvanxeachi Maim (Our Lady of Fatima: Mother of Hope) set to premiere in October 2025, he continues to walk a path where theatre becomes testimony, and the stage transforms into a pulpit of hope.