Fernandes, known for his intellectual prowess and accessibility, was regularly sought out by folk playwrights and tiatrists (artists specializing in tiatr performances) to assess and provide feedback on their scripts. This interaction sparked his interest in tiatr, a distinctive form of Goan musical theater. Consequently, Fernandes initiated his involvement in tiatr by authoring scripts, crafting songs, and offering ghostwriting services to tiatrists, demonstrating his multifaceted contributions to the theatrical landscape. Driven by his passion for tiatr, he immersed himself in the world of theatrical productions, taking on the tasks of a prompter and backstage assistant, embodying the role of a stagehand in the theater environment. Fernandes remained dedicated to the Konkani theater scene, commonly referred to as the tiatr stage, by independently creating and presenting his own tiatrs as a theatrical producer. Among his popular works were Rozarachem Kont (The Rosary Beads), directed by Konkani singer and writer Kid Boxer, Maim, Tum Asli Zalear (Mother, If You Were There), Oso Cholta Ho Sounsar (This Is How the World Works), Disop Vortounam Zavop, Map Bhortoch Vot'ta, and others.[2] On 5 November 1972, Fernandes presented his self-written and directed tiatr, Boreponn (Goodness), near Nuvem church. The staging of this tiatr production was made possible with the assistance of the Santos Sports Club. The cast included Babina, Luiza, Clara Dias, Jephsis Hitler, Lucian, Greg de Candolim, Valento Luis Rod, C de Sanquelim, Roam-Rem-Rod, Domnic Vaz, Lume Gomes, C. D'Silva, Master Vaz, Albert de Cana, and J X Miranda. Luciano served as the stage manager, while the music arrangements were executed by Alex's band.[3]
During the period in which Fernandes was active, the Konkani tiatr stage saw a significant reliance on prompters for the delivery of dialogues by performers. These prompters, including Fernandes, were engaged by directors and played a vital role in the production process. Their primary responsibility was to provide timely cues to the performers, ensuring that the lines were delivered accurately and on time. Prompters like Fernandes[3] possessed the ability to convey the precise emotional nuances required for each character, enhancing the overall performance. The demand for prompters of Fernandes' caliber was substantial, and directors would secure their services well in advance, starting from the rehearsal stage and continuing throughout the entire duration of the performances. Fernandes and his contemporaries frequently traveled with the tiatr troupes, joining them as they performed in diverse locations. In addition to their prompting duties, prompters often provided valuable input by offering suggestions and making necessary corrections to the dialogues. The role of prompters extended beyond dialogue delivery. In addition to overseeing the tiatr program, they were in charge of managing stage transitions, coordinating the availability of props, and other essential elements necessary for a successful tiatr performance. Their meticulous attention to detail and careful approach were instrumental in ensuring the smooth and seamless execution of the tiatr show. What made Fernandes stand out among other prompters was his versatility as a writer and composer. In addition to his prompter responsibilities, he possessed the talent to create original content and compose music for the tiatr.[2]
Fernandes played a significant role in fostering and promoting emerging talents within the Konkani tiatr community. One notable individual he supported was Clara Dias, an actress and singer who made her debut on the Konkani stage during the early 1960s. Fernandes offered her encouragement and guidance during the early stages of her career.[4] Moreover, he actively sought to introduce promising artists in his own theatrical productions. For instance, he provided a platform for Josephine Dias, daughter of playwright Casiano, to make her first appearance on the commercial tiatr stage in the 1960s with the production Maim Tum Asli Zalear (Mother, If You Were There).[5] Fernandes also played a pivotal role in providing opportunities for aspiring tiatr artist Eddie Mascarenhas. In one of his tiatr performances held at the Colva Fama, also known as Fama De Menino Jesus, Fernandes afforded Mascarenhas the chance to showcase his singing talent. Mascarenhas received admiration from the audience for his rendition, effectively launching his career in the Konkani tiatr industry.[6] Furthermore, Fernandes made contributions to the tiatr community beyond his own productions. On 4 February 1967, he assumed the role of a stage manager for the tiatr production Adim Chintunk Nam! (Didn't Think Before).[3] Later in his career, Fernandes became involved in theater competitions, serving as a judge for the Kala Academy Goa's 3rd Tiatr Competition held during the 1976–1977 season. This competition took place across three venues: the Kala Academy Theatre in Panjim, Gomant Vidya Niketan in Margao, and Zopha Mandop in Canacona. Collaborating with judges Krishna L. Moye and Albert Carvalho, Fernandes contributed his expertise to evaluate the performances showcased in the competition.[7]
