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Sculpturesque Karanas brought out with care
The choreography needs special appreciation. In the modern world of cranes and satellites, it is easier to build a multi-storied building. But those were the days when thousands of labourers would have been employed to erect the high temple towers and sculptors would have taken immense pains to erect those beautiful sculptures. In short, one can say that the young dancers took the audience back to the days when the Chidambaram temple was actually constructed. The efforts of the sculptors of those days were brought alive on stage.
Mayavaram Shankar on the
mridangam, gave ample support with lively fillers and Pharans that added flavour to the dramatic presentation. Roja Kannan, a
disciple of Adyar Lakshman gave concrete support on the Nattuvangam that
were apt for the
situation. Lakshmi Viswanathan carried the audience with her fine facial
expressions particularly in the song ‘Varugalamo Ayya’ in raga Manji.
This melodious number of Gopalakrishna Bharati depicted the anguish of
Nandanar who was longing to see the Lord. Bhama Visweswaran who provided vocal
music, brought out
the modulations in her voice that gelled with the expressions of the
dancer. M S Kannan’s violin
remained yet another highlight of the day’s programme.
Though the
programme was a grand success, Lakshmi Viswanathan failed to formally introduce the
co-dancers and the members of her orchestra, which she finally did after
Mrs. Y G Parthasarathy’s promptings. However, by the time she got round
to it, it was found that the young
dancers had already left the auditorium. An acclaimed artiste of her rank
should also remember that no dance recital is a one man / woman show but is
pure teamwork.
Lakshmi V N
