These musical plays were staged outdoors in various public spaces such as street corners, village centers, and open areas.

However, towards the end of the 19th century, the zagor form of entertainment gained popularity in Bombay, attracting the interest of North Goans.

They faced ridicule and mockery from non-Goans, which prompted the middle and upper classes in Bombay to shift their attention to English and Portuguese dramas.

[2] In 1890, while zagor was still common in Bombay, an Italian Opera Company arrived in the city, presenting performances of high quality in renowned theaters.

These Italian operas had good storylines, musical compositions, direction, stage designs, costumes, and lighting effects.

Through his personal connections, he obtained a position with the Italian Opera Company, starting as a curtain operator and caretaker or a stagehand.

[1] Although the position offered a modest salary, Ribeiro accepted it as it provided him an opportunity to involve himself in theater, observe the artists, and enjoy the music.

[2] During his time with the Italian Opera Company, Ribeiro travelled extensively with the troupe, visiting cities such as Poona, Madras, Simla, and Calcutta in British India.

Caetaninho, employed as a clerk at the Bombay Gazette, played an important role in expanding the group's talent pool.

[2] Consequently, Ribeiro, Caetaninho, and João Agostinho Fernandes, a young man from Borda, Margão, employed at a pharmaceutical company in Bombay, began seeking additional artists.

This was challenging due to the negative perception associated with Goan zagors, which discouraged potential participants from engaging in Konkani entertainment.

The audience appreciated the production's music, narrative, songs, and the authentic velvet costumes borrowed from the Italian Opera Company.

The tiatr's success increased the group's recognition, prompting Ribeiro to name them the Goa Portuguese Dramatic Company.

[2] The Konkani tiatr originated in Goa under the leadership of Ribeiro, making him the first Goan to introduce this theatrical form in the region.

While Ribeiro focused on translating established English and Portuguese plays into Konkani, Fernandes distinguished himself by creating original tiatrs.

Towards the end of his career, Ribeiro wrote and directed five tiatrs, including works such as Italian Bhurgo, Alibaba ani Cheallis Chor, and Carlos Magno.