6 January 2026 – Evening Performances

Priyadarsini Govind

Priyadarsini Govind appeared in a light olive-green pant costume with a red blouse, with the partially detached fan design aiding her characterisation in the central varnam. The varnam, specially composed by Rajkumar Bharathi, centred on Ravana, the fallen king of Lanka. The trikala jati opened with a brief hesitancy, though the movement vocabulary employed was distinct. The pallavi line Isai kalaignan portrayed Ravana’s act of offering his own ribs to Siva in pursuit of boons, capturing his pride and intensity. The decision to initiate the jatis using Ravana’s distinctive gait was effective, even though the adavus themselves remained understated, a limitation offset by Jayashree Ramnath’s energetic vocal rendition of the jatis.

Elements of Koodiyattam technique were integrated judiciously. While the sanchari depicting Ravana’s self-sacrifice extended in duration, it sustained attention, underlining Priya Govind’s capacity to negotiate demanding abhinaya passages with composure. The charanam traced Sita’s abduction, where Ravana’s physical bearing occasionally diverged from that of a disguised ascetic. The sequence in which Ravana commands Vayu, Surya, and Indra in response to Sita’s invocation of Rama was imaginatively structured. The intermittent use of recorded vocal effects to suggest Ravana’s superhuman presence created an auditory dimension that resonated through the hall. The charanam concluded with Ravana’s growing vulnerability and loss of authority, especially in response to Rama’s line Indru poi naalai vaa. Overall, the varnam assumed a theatrical tenor, with abhinaya consistently dominating the nritta passages. The sanchari choreography was by G. Narendra Kumar, conceptualised by Jayachandran, under the guidance of Prof. S. Raghuraman. Koodiyattam elements were incorporated with inputs from Asha, Sadhanan Balakrishnan, and Sooraj Nambiar.

Following Ravana’s fall, Tumak Chalat Ramachandra, a padam by Tulsidas, portrayed King Dasaratha and Kausalya witnessing young Rama. Priya’s portrayal here was particularly assured. An excerpt from Mutholayiram followed, presenting sringara between two elephants, where the female reassures a hesitant male, restoring his confidence. Though brief, this segment conveyed narrative clarity.

The ensemble comprised Murali Sangeeth (vocal), Shakthivel Muruganandam (mridangam), Shikamani (violin), Anantha Narayanan (veena), Manas (maddalam), and Keerthi Kumar (lighting).

The recital concluded with Aadum chidambaramo by Gopalakrishna Bharathi in Behag raga and Adi tala. The piece incorporated swift sancharis, visualising the cosmic dancer and concluding with a kartal-based bhajan sequence. Minor costume disturbances and the absence of her signature leaps were noticeable. Overall, Govind’s abhinaya remained the defining strength of the evening.

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Sharmila Biswas – Murta Maheswara : A dance Theatre – Musical Show

The production opened with the mantra Om namo Bhagavate Pasupathaye namaha, establishing the theme of divine guardianship across living forms. Dancers, clad in white costumes with minimal ornamentation, employed Odissi and Gotipua movement pedagogy, the tribhangi and curved body lines, to articulate animal and bird imagery. The portrayal of Siva–Shakti emphasised mutuality and balance. The segment was especially immersive and impactful.

Instrumental textures were employed symbolically: the damaru suggested creation, while the Natesa Navakam of Patanjali structured the exploration of prana shakti. The use of earthen pots evoked rhythmic breath and heartbeat, gradually transitioning into expansive movement.

Sticks, drums, coloured flags, shehnai, and cymbals were integrated into the choreographic fabric, reinforcing rhythmic and visual variation. The production demonstrated a high degree of conceptual originality. At points, certain sections extended beyond their thematic necessity, and a few transitions lacked immediate clarity. Nevertheless, the work reflected a thoughtful engagement with movement, rhythm, and metaphor.