He embarked on his Konkani theater journey with Chinchinim-based[1] Basilio Furtado's tiatr Naddponn Amigachem, portraying the character of Princess Diana at Clube Harmonia Hall in Margão.

The news of his abilities reached João Agostinho Fernandes, who, during his visit to Goa, extended an invitation to Souza to take on a leading role in his tiatr Geraldina.

The subsequent staging of the tiatr at Eden Cinema in Pangim attracted a sizable audience, including the Governor of Portuguese India, Pedro Francisco Massano de Amorim [pt].

Konkani directors such as Saib Rocha, J. P. Souzalin, Aquila, Rogaciano, Ernest Rebello, John Lazarus, and Affonceka prioritized Souza's participation, ensuring his involvement prior to scheduling their new tiatrs.

In recognition of his talent, Souza was exclusively invited to perform on Republic Day in Delhi in both 1954 and 1955, making him the sole Konkani artist to receive this honor during those years.

An important milestone in Souza's career occurred on 11 November 1937, when he made history as the first Konkani artist to present and record a musical program on All India Radio in Bombay.

A lot of his stage productions were successful, and worked along with Konkani directors such as João Agostinho Fernandes, Saib Rocha, J. P. Souzalin, Ernest Rebello, C. Alvares, M. Boyer, Prem Kumar, and others.

"[2] Wilson Mazarello, a historian and singer in the Konkani community, expresses his surprise at Souza who had authored a mere eight tiatrs, a popular form of Goan musical theater.

Despite this seemingly modest output, Souza managed to carve out a significant place for himself in the Konkani stage, alongside figures such as J. P. Souzalin and Aleixinho De Candolim.

While J.P. Souzalin and Alexinho de Candolim were celebrated for their talents as writer-directors, Souza garnered admiration from tiatr audiences for his skills in singing, composing, acting, and musical proficiency.

Through his contributions, Souza elevated the status and reputation of the Konkani stage, instilling a sense of refinement and dignity that set it apart from the traditional zagors in which Goans typically engaged, as noted by Mazarello.

[2] According to André Raphael Fernandes, a professor at Goa University, Souza's true talent lay not in prolific writing, but in his ability to embody a wide range of characters.

He effortlessly portrayed heroes, Hindus, Goan tribal Kunbis, Arabs, old men, and even flirtatious young girls, showcasing his versatility and skill on stage.

His performances in various tiatrs exemplified his multifaceted nature, as he adeptly portrayed characters spanning Kunbis, bhattkars (landlords), old women, young girls, Hindus, and even unfamiliar roles.

Souza's commitment to tiatr was evident in his willingness to endure the challenges of public transportation, particularly at night, as he would traverse long distances while carrying his trunk on his head.

Souza upheld his principles, as demonstrated by his candid remarks during a meeting at the Dabul Goan Institute, Bombay in 1975, where he criticized the absence of tiatr artists to recognize Konkani as a distinct language by the Sahitya Academy.

Souza's commitment to his craft was evident in his ability to balance his professional responsibilities as a draughtsman in the Bombay telephone department with his fervent pursuit of tiatr during his free time.

As an artist, he possessed versatility, assuming diverse roles ranging from bhattkar (landlord) to Kunbi, from young damsels to elderly women, and even portraying characters of different religious backgrounds.

Goa University professor André Raphael Fernandes highlights the moral lesson within the play, which revolves around the interpretation of ambiguous phrases in the Konkani language.