In the legal proceedings involving Amaral accused of abducting the Belle of Cavel, the police inspector puts forth a forceful argument.

The play examines the growth of enduring friendships among educated young individuals, disregarding the approval of parents or societal barriers.

This theme is subtly introduced in the initial choral passage, as the main characters Deodita and Amaral sing: "Zaite zananim utor dilam angasori Pai maiche khoxi bhairi" (transl.

The play portrays the persistent conflict between traditional values and modern influences, showcasing a setting where educated young women are becoming more confident in making independent choices regarding their lives, including their decisions on marriage partners.

[1] The work also explores the conflict between traditional societal expectations and emerging trends emphasizing personal autonomy in matters of marriage.

Traditionalist perspectives maintained that factors like caste and class should be key criteria in such decisions, a view challenged by the playwright Fernandes as incompatible with Christian principles.

This thematic tension is conveyed through the male protagonist Amaral, who expresses concern over the persistence of caste distinctions among Christians, questioning how such practices align with their religious faith.

The play directly depicts the consequences of these divergent attitudes, as the parents of Amaral and Deudita clash over appropriate marriage considerations, leading to physical altercations between the fathers.

Consequently, the need to overcome entrenched prejudices related to hierarchies of caste and class emerges as a central preoccupation of the work.

It grapples with the broader sociocultural shifts underway, where traditional norms governing arranged marriage face increasing challenges from perspectives emphasizing individual choice and religious universalism.

Gracias selected one of Fernandes's plays and spent two weeks transcribing the original handwritten manuscript in order to produce a more accessible typed version.

Following that, he undertook the task of restructuring and refining the theatrical piece by infusing it with beloved traditional Konkani musical compositions from the early to mid-20th century.

These incorporated songs included "Tornnem Rogot", "Bhattacho Vantto", "Zalo Tedna Melo", "Dotik Lagon", "Ankvar Mariechem Dukh", and "Bottatteanchi Bhaji".

[2] Gracias composed the introductory musical piece for the theatrical production as a gesture of reverence towards the artistic contributions of Fernandes.

The play underwent an extensive rehearsal period, with the cast and crew meeting daily for three weeks to prepare.

Following the Cavel showing, additional performances of the play were held at other venues in the Mumbai area, including Kurla, Dadar, Matunga, and Kankavli.