He regularly attended performances featuring popular tiatr actors from Bombay alongside his father at various sites in Panjim, including Azad Maidan and Patto.

De Melo's fascination with the art form led him to transcribe the scripts of these performances, a practice that ultimately contributed to his development as a playwright.

[3] De Melo's father, João, was a known figure in the tiatr world, known for his singing (kantaram) and violin playing in village performances.

The family's involvement extended beyond João's individual performances, as de Melo and his father frequently participated in tiatr productions staged by local priests for a range of celebratory events.

He also displayed a talent for writing, composing biblical theatrical performances, which he showcased in the square of the Our Lady of the Immaculate Conception Church in Panjim during the festive Christmas period.

[2] De Melo's theatrical journey commenced with his debut in Nelson Afonso's tiatr Árso (Mirror), marking his entry into professional stage performance.

The trio's collaborations extended to popular directors such as C. Alvares, Robin Vaz, John Claro, Bab Peter, Ophelia Cabral, Betty Ferns, M. Boyer, Fr.

De Melo's directorial debut occurred in 1974–75, aged 20, when he directed Bernard D'Silva's Eksurem Jivit (Lonely Life) at Kala Academy's annual tiatr competition.

De Melo's directorial work extends beyond these award-winning productions to include Visvasi vo Ghatki, Konknni Machie Fattlean, and Kallo Fator.

These include Kalljivont Nazia, Khoro Mog, Konknni Machier Oxem Ghoddta, Abgath, Soddvondar, Fattim Pavlo, Adhar, Asro, Kor Kazar, Kolakar, Kallo Dhondo, and Kelelea Mapan Gheta.

[3] De Melo's contributions to the Goan theatre scene are diverse, spanning one-act plays, musical productions, and Konkani dramas.

[3] De Melo, known for his work with his Çezar Dramatic Troupe, has authored several tiatr books, including Kal ani Aiz, Kolakar, Kalliz Ostorechem, Kallo Fator, Kaide Konnank, and Kirmidoracho Rosto.