During the same era when J. P. Souzalin graced the Konkani stage in Bombay, another aspiring young man from Camotin-waddo, Candolim, emerged with a fervent desire to make his mark in Goa's theater scene.

This individual was Fernandes, a 22-year-old who would later establish himself as a leading writer and director of Konkani stage plays, earning popular acclaim under the name "Aleixinho de Candolim."

At the tender age of 22, Fernandes began crafting tiatrs and successfully staged his maiden play, Putanchi Duddvanchi Ass ani Avoichem Disgras, on 15 August 1935, coinciding with the feast day of the patroness Assumption of Blessed Virgin Mary at Candolim's Church of Our Lady of Hope (transl.

Writer Irene Cardozo writes, his talents and abilities established him as a cherished artist, commanding the respect and admiration of both tiatr directors and theatergoers in Bombay.

J. P. Souzalin, a leading director, was among the first to secure Fernandes' services, casting him in Bhott Ailolo Pomburpechea Festak (Hindu priest's arrival at Pomburpa's feast).

Nonetheless, Souzalin once again invited Fernandes to participate in his production, Pai Tujeach Tonddan Magon Ghetlen, bringing him back to Bombay specifically for this tiatr.

Fernandes authored 27 tiatrs, including works such as Matarponn (Old Age), Goencho Posorkar (Goan Shopkeeper), Munddari, Bhasailolo Nouro, Mottorkar Ponk, Kuroikar, Aga Kumpar, Sezari (The Neighbour), St. Cecilia, Bhirankull Xevott (The Scary Ending), Vid Tiatristanchem, Eu Khuim vo Pescadores, Te Dogui Luche, Kallo Bazar Vo Black Market, Amcho Pordhes, Bebdeacho Estad, Miss 1951, Festache Ferientlem Ful, Cheddvankar, Mhuzo Ghov Basurkar, Millionar (Millionaire), Bhurgeankar, Omtea Kollxear Udok, and Amchea Xetachi Pavnni (The Auction of Our Field).

Like J. P. Souzalin, Fernandes strove for excellence in his productions and actively fostered emerging talent, thereby making a significant contribution to the growth of Konkani theater.

His contributions extended beyond music, as he held a deep affection for his native village, adopting the stage name Aleixinho de Candolim to honor his roots.

Fernandes's tiatr Amchea Xetachi Pavnni aligns with the tradition of protest theater, bearing resemblance to the pioneering work of Brazilian director Augusto Boal's Theatre of the Oppressed.

[3] In Mhatarponn, Fernandes portrays the mistreatment of elderly parents by their own children, delivering a cautionary message about the potential repercussions when these sons themselves age and face similar neglect.

Gõycho Posorkar delves into the realm of shopkeepers in the Portuguese era in Goa, distinguishing between those who aided impoverished customers and those who exploited them through exorbitant pricing.

[2] Amchea Xetachi Pavnni, staged for the first time by Fernandes in Candolim on Easter Sunday in April 1962, sheds light on the plight of tenants (munddkars) during the Portuguese regime in Goa.

Staging a tiatr critical of landlords during the Portuguese era was a formidable task, yet Fernandes persevered, championing the cause of the marginalized and amplifying their voices through his play.