Rocha's presence on the Konkani tiatr scene proved to be a crucial milestone, providing a much-needed boost to the struggling state of this Goan entertainment tradition.

With his solid academic background, proficiency in English, and a natural affinity for the Konkani stage, Rocha embarked on his ambitious endeavor.

[1] In 1931, internal conflicts arose between Emidio Salilor and Luis Borges, two popular composers and singers of the theatrical company, resulting in the departure of some members.

Notable appearances include his involvement in Jinnu's Imperador Carlos Magno Ani Bara Par Fransache, presented by the Union Jack Dramatic Company at the Princess Theatre Bhangwadi, Bombay on 3 December 1929, and Carcus Sailor Boy's White Rose Garden Vo Dhovea Gulabachi Bag in 1934.

Rocha dedicated himself to the Konkani stage with an open mindset and progressive ideas, recognizing the distinct roles of playwriting, directing, and acting within the realm of theater.

[2] Among Rocha's most popular tiatrs, which he both authored and directed, are Dubavi Ghorcarn (The Doubtful Wife), Noketr Italia Xarachem (The star of the city of Italy), Gupit Cazar (Secret Marriage), Mog ani Krim, Calsad Nouro, Ghor-Zanvoim (Gharjamai), Son of Jeruzalem, Aunkarancho Sounsar, and Romeo & Juliet.

Significant performances include the staging of Rocha's own tiatr Doth (Dowry) at the Princess Theatre Bhangwadi on 14 April 1931, which marked the debut of actress Miss Georgina Souza.

[1] After a brief stint in Karachi, Rocha returned to Bombay in 1934 and showcased Share Holders Night at the Royal Opera House on 8 April.

Subsequently, on 25 February 1936, he staged Addangi Choli ani Patrador Cholo, and on 18 May 1936, he showcased Dona Enestina vo Sounsar Jiklim Hanv at the Princess Theatre in Bhangwadi, Bombay.

[1] Rocha consistently demonstrated a prolific output, producing an average of two new tiatrs each year, with each production undergoing approximately six months of rehearsals.

[2] Despite encountering skepticism and criticism from the elite Goan community in Bombay, Rocha tenaciously pursued his mission of elevating the standards of Konkani theater.

Mazarello further writes, some aspects of Rocha's productions included the elaborate and visually stunning sets, as well as the meticulous direction employed.

Rocha's dedication to his craft extended beyond Bombay, as he embarked on tours with his troupe, performing in various cities such as Karachi, Calcutta, Poona, and Goa.

When approached by contractors seeking to restage his tiatr Mog Ani Krim, Rocha enlisted the directorial expertise of Remmie Colaço.

Similarly, Rocha's Ghor Zanvoim was restaged under the direction of Alfred Rose at St. Mary's Hall in Mazagaon, Bombay on 15 August 1964.

[2] Despite health concerns limiting his ability to write new tiatrs, Rocha maintained an enthusiastic spirit and entrusted his plays to various contractors and emerging directors such as Remmie Colaco, Alfred Rose, and Dod de Verna.

[1] While Rocha dedicated significant attention to the content of his plays, ensuring thorough rehearsals for the main performances, he also recognized the importance of songs in a tiatr and actively sought out talented singers.

Moreover, his influential role extended to fostering new talent, as numerous aspiring tiatrists found their entryway into the theater world through Rocha's productions.

Notably, productions such as Romeo & Juliet, Dubhavi Ghorcarn, Mog ani Krim, Nokhetr Italia Xarachem, and Kalsad Nouro were hailed as exemplary works.