Reviews
Pengal potrum Raaman: Dance and Storytelling

What could be more
captivating than witnessing a dance performance that not only dazzles with
movement but also brings the research and rich narrative behind the work to
life? With a blend of humour, political insights, dharma vichara, and masterful
storytelling, Dushyanth Sridhar expertly brought forth the Ramayana in a way
that both educates and entertains.
The performance of Pengal Potrum Raaman began with Ramya’s entrance in a bland golden dhoti and short angarkha, the song interlaced with svarams and sahitya with the words, Raghuveera, Mahaveera, and Rajakumara—introducing the valour of Rama was captivating. Ramya’s signature sculptural poses enhanced the entry, setting the tone for the evening.
Dushyanth’s explanation of the Vamshe jaathasya…went on to praise that shatroyoho who is praised by even the enemies. This laid the stage for a beautiful exploration of powerful women from the Ramayana, each deeply affected by Rama’s actions yet honouring him, creating an unexpected and profound narrative.
The story begins with Kaikeyi,
before the spell of Manthara, praising Rama like none other. Dushyanth’s apt
quote of En kanmani, encapsulated the moment. Ramya entered with a blue
silk pallu, for the portrayal of Kaikeyi. Despite kaikeyi’s complex role in
sending Rama to the forest, her words of admiration resonated deeply.
Manthara entered in a checked pallu; the shift in her demeanor was expertly conveyed through Ramya's performance. The conversation between Manthara and Kaikeyi, accompanied by Hindolam with the song Ramanukku mannan mudi, kept the audience engaged. The portrayal of Kaikeyi’s praise of Rama was moving, and the phrase En Kanmani could have been impassioned to suit the singer whose bhava was bursting with empathy.
The second character, Soorpanakha, derived her name by her side-growing nails, explained Dushyanth. Elucidating from her ancestors until her husband, Vidyuthjivha, he continues to quote from Kamban and draws parallel with Valmiki. Even after the humiliation of having her nose severed by Lakshmana she finds herself involuntarily singing his praises instead of condemning him. He drew insights from the verses of Periyavachan Pillai, who composed a remarkable set of 40 stanzas celebrating Soorpanakha’s admiration for Rama.
Ramya’s transformation into the character, with a mask and a flared woollen netted skirt was both visually striking and symbolically fitting for a rakshasi. The lush backdrop seemed appropriate, although the heavy smoke somewhat obscured its impact. The words for Soorpanaka like durmukhi, mahanmani, virupakshi were depicted well, in contrast with the words used for rama like sumukham, vrittamadhya, visalaksham, sukesham. And momentary interlude of Seethamma maayamma in Vasantha added to its depth.
The gati bhedas and
utplavana incorporated to represent Soorpanaka needed more clarity. Tarunou
roopa sampanou.. the original verse from Valmiki Ramayana and Tygaraja’s
kriti Lavanya rama kanulaara were
used for this narrative.
The next portrayal was Tara, the powerful wife of Vali. He delved into the origin of Vali’s name with his validations and highlighted Tara’s divine birth from the amruthamanthana and her marriage to Vali. Following Vali’s death, Tara, with her husband's lifeless body beside her, confronts Rama. Ramya entered with a red stripped cut skirt. While she aimed to link the amruthamanthana to Vali calling Sugreeva for the duel, the connection felt somewhat disjointed. Impressive music featuring chande (rhythm pads) and mridangam accompanied the slightly prolonged fight between Vali and Sugreeva, but Ramya maintained the intensity throughout. When Tara entered after Vali's defeat, her dialogue with Rama, delivered through a sloka from the Ramayana, resonated deeply in the auditorium. However, the use of a male voice for this moment felt noticeably contrasting. There were moments where a subtle sattvika void emerged which could have been more effectively filled.'
Dushyanth proceeded by
introducing the character of Mandodari. He gave a detailed explanation of
Periyavachan Pillai’s commentary, which describes 14 distinct traits of Rama
through Mandhodhari’s words. The entry with Indru poi nalai va, only
added confusion of the character. The emotion depicted was palpable with
beautiful execution of poignant moments.
The Tillana was
energetic, but a slight adjustment in the choice of steps would have enhanced
the overall flow. The chosen aradi adavu for the Tillana could have been more
thoughtfully selected, as it involved significant leg lifting that didn’t quite
suit the stage. Additionally, the korvai in tisram lacked the lilting effect it
could have achieved.
Rajkumar Bharathi’s music
was scintillating. The lighting by Murugan fell short of lustre he typically
brings to a presentation.
Dushyanth rightly sang
the Endharo mahanubhavulu who praised Rama, here are few women who,
despite being on opposing sides of the narrative, eloquently spoke of Rama’s
virtues, making it an unforgettable experience.