Batcara II encountered a six-year delay before its staging, mirroring the situation with Kunbi Jakki Part II, which underwent revisions before being revised in Margão in March 1945 The translation of the final three scenes into Portuguese, including the incorporation of Konkani terms, was overseen by Professor D. D'Silva, who undertook the task of translating the dialogues from Konkani to Portuguese.
The permission-free performance allowance also extended to Mombasa, and Nairobi in Kenya Colony, Dar es Salaam in Tanganyika Territory, and Portuguese Goa.
Costaum, Jakki's father-in-law, exhibits heightened vivacity and animation after partaking in a few measures of traditional country liquor.
Costaum's sense of humor and biting sarcasm persist, even leading to verbal disputes with his wife Bostean, due to his drunkenness.
Recognizing Jakki's interest in a particular rice field parcel, Arius endeavors to secure a lease for it by employing his representative, Roque, to act as a proxy.
In a dramatic turn of events, Arius vanishes quietly through a trapdoor amid fireworks, prompting speculation among the court and spectators about his enigmatic character, hinting at possible demonic attributes.
According to literary scholar André Rafael Fernandes, a professor at Goa University, Kunbi Jakki Part II fails to capture the same level of significance and influence as its predecessor.
[2] Additionally, Fernandes notes that the innovative representation of the Kunbi community, an indigenous group in Goa, in a full-fledged theatrical performance played a pivotal role in capturing the attention of the local audience by offering a fresh perspective on cultural narratives.
He also praises the inclusion of authentic Kunbi language and rhythmic musical elements, which he argues made the work particularly appealing to Goan theatergoers.