Fernandes's family background included involvement in Contradance, a regional song and dance tradition featuring ankle bracelets.

Beginning at the age of 15, Fernandes initially exhibited his vocal prowess by performing at various school functions, such as commemorations for the principal's birthday.

In his debut street play Bhikari (Beggar), Fernandes overcame parental apprehension[3] by using white quicklime or brick dust to paint his and his fellow performers' faces.

After this debut, Fernandes crafted theatrical works comprising three acts specifically for street shows held during carnival celebrations.

This innovative approach proved popular with audiences, who responded positively to the minimal use of written material, as only the basic cants (songs) and plot summaries were formally documented.

Some of his popular works include Duddu ani Ginean (Money and Knowledge), Soccorina (1984), Ho Uzo Paloiat (Put Out This Fire), Ghara Ea (Come Home), Khorench Hanv Fattim Paulom, etc.

[4] In his early career, Fernandes found that his contributions to writing and acting in khell tiatrs did not fully meet his expectations for personal satisfaction and a sense of fulfillment.

Despite being familiar with tiatrs from his early years, this exposure sparked his ambition to pursue a career as a tiatrist, with a particular interest in vocal performance, he encountered obstacles.

In addition to his popularity within Goa, he also brought his tiatr productions to other parts of India, such as Bombay, as well as to Goan diaspora communities in the Gulf region, where they were also acclaimed.

During the early 1990s, Fernandes temporarily ceased his stage performances as he pursued employment opportunities in Muscat, Oman, leading to a hiatus in his theatrical engagements.

During the original staging of the play, certain attendees alleged that the performance was influenced by a genuine occurrence related to the demise of a girl named Soccorina from Colva.

Gracias raised concerns that the introductory musical piece in the performance included veiled references to a specific individual or event, prompting worries about the protection of privacy.