A mixed bag of ballets
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The three-day `Kuchipudi Nritya Roopakotsavam' had some exceptionally good presentations and some drab dance dramas.
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ARTISTICALLY YOURS Krishna (N. Bhavana) is surrounded by mesmerised gopikas in the aesthetically choreographed `Noukacharitam'; (below) A scene from Sobha Naidu's production `Sambhavami Yuge Yuge'. PHOTOS: K.R. DEEPAK
A joint venture of the Departments of Tourism and Culture, the three-day Kuchipudi Nritya Roopakotsavam, held in Kalabharathi, though had a bad start, concluded on a heart-warming note with the ballet, Thyagaraja's Noukacharitam.
All the intricate nuances of the emotions embedded in the lyrics such as the gopikas going on a boat ride on the Yamuna, the sudden rough weather, and the panic till the gopikas realised that the little Krishna with whom they went, is the divinity incarnate found an exquisitely drafted expression.
Kudos to naatyacharya K.V. Subrahmanyam of Guntur who not only designed an aesthetically artistic choreography with a fine blend of the nritta, nritya and the natya facets in strict adherence to the traditional norms of Kuchipudi, but also put in adroit efforts for its meticulous execution by his young disciples on the stage. Sridevi, Spandana, Deepthi, Pratyusha, Ramadevi, Bhavya as the gopikas and little N. Bhavana as Krishna in particular were good.
Sambhavami Yuge Yuge that was presented by Sobha Naidu and party earlier in the evening, turned out to be a good show and no wonder, drew loud applause at the end of every episode. Starting with the depiction of the emergence of the Gita in the beginning of the Kurukshetra battle, it ended with the Viswaroopa Sandarsanam followed by the effulgent re-appearance of Lord Krishna (donned with ιlan by Sobha Naidu) on Arjuna's request. In between, it was an effort correlating the tenets of the Gita to establish its all-time relevance, especially with a focus on how every individual who passes through the Baalya (childhood), Kaumaara (teen age), Youvana (youth) and Vaardhakya (old age) dasaas (stages) gets awakened, enlightened and even saved from going astray by the Almighty (Krishna in the ballet) who, in his miniature form, constitutes the Atman (soul) of every human being.
A laudable concept which lost the track in linking episodes like Hanumathsagara Langhanam with the childhood, and especially the Vardhakya stage with Gajendramoksham which establishes the supremacy of total surrender to the Almighty; an attempt that justified neither the concept nor the title. Notwithstanding the usage of nattuvangam scarcely, Nattuvannar Mahankali Mohan made a mark for himself. Scripted by Samavedam Shanmukha Sarma, the ballet adapted a number of slokas from the Ghantasala's abridged and the recorded version of the Bhagavad Gita along with musical and commentary set-up. The songs were evocatively rendered noted singer Kanna Rao and Swetha. Thanks to episodes like the emergence of Lord Krishna (Sobha Naidu in dazzling attire) frequently from the heaven with its doors automatically opening up, it left an impression of being a trendsetter in production design of the ballets of the Navya Nritya Sangeetha Roopakam category.
Impressive yakshagana
The other ballet that stood out for its traditional yakshagana style of Kuchipudi was the roopakam Bhaktaprahlada presented by Vedantam Radheshyam and party from Kuchipudi. While baby Anusha who lived the character of Prahlada was the cynosure of all eyes, Vedantam Ramalinga Sastry impressed all alike as Hiranyakasipu. Kudos to Radheshyam for the way he managed to sustain the tempo guiding the vocalists V. Bhavani and V.S. Narasimha Sastry, besides the members of the orchestra, on one hand, and about a dozen artistes on the stage on the other.
The ballet Soundaranandam presented on the first day by Vedantam Ramalinga Sastry and party was good in patches. It went drab especially in the sequences in which Goutama Buddha appeared, as Ramalinga Sastry who donned the character appeared physically stiff in attitude and grave in expression. Mohini Bhasmasura staged by Korada Narasimha Rao and party proved to be the most bizarre form of Kuchipudi.
Despite the sprightly show of talent by Santhi as Varshasundari, Tejaswini as Vasanthalakshmi and Lalita S. Sindhur as Greeshmasundari, the second ballet on the second day, Rithuragam presented by Santhi and party from Kakinada sans variation in the rhythmic patterns and selection of appropriate ragas went monotonous.
A. RAMALINGA SASTRY
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