Driving home a message
RUPA SRIKANTH
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The tribute to guru Kancheepuram Ellappa Mudaliar was touchingly simple.
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STORY OF THE SCULPTOR: Classic, albeit with an element of theatre. Photo: V. Ganesan.
The dance ballet, `Uzhaipal Uyarndavan,' conceived and directed by Guru Udupi Laxminarayan, mounted classicism and theatrics on the wings of a social message on hard work. Performed as an offering to his guru Sri Kanchipuram Ellappa Mudaliar, the young dancers dramatised the struggle of an impoverished but industrious sculptor, making an example of his story.
Though the presentation at Rama Rao Kala Mantapam tended to slip into a theatrical mode, there was a touching simplicity discernible beneath the flourishes. The choreography reflected simplicity of thought that reflected in the smooth narration and the quiet confidence of the dancers. Within the framework of the story were smaller messages that seemed like poignant reminders to us, like the insistence of the oneness of the three Goddesses who had been carved out of the same stone and Ganesha's message to the despairing sculptor to be patient and the affluent miser's comprehension of the need to support art and artists.
Packed with punch
The prayer to Ganesha with the young God's solo and the inevitable `Sculptor's Dream' when the statues come to life were packed with punch, a showcase of the Guru's masterly touch with the cymbals. The pure dance sequences could have done with a speed-breaker though. The dignified sculptor (Divya Kasturi) was supported by expressive dancers viz., Gayathri, Lakshmi Nandini, Sateesh, Mamta Rao, Bhoomika, Harini, Sanath Kumar and Ashwin. The production was scripted and composed by P. B. Srinivos, with the orchestration headed by Venkatasubramaniam on the keyboard. Sakthivel on the mridangam, Sikhamani on the violin, Parthasarathy with special effects and the morsing, and Guru Laxminarayan with the cymbals completed the ensemble. Ramya, blessed with a strong voice, was disappointingly inconsistent.
The opening Ganeshanjali in raga Hamsadwani and the closing Dr. Balamurali Krishna Tillana in Brindavanasaranga performed by Vaishnavi, Mridula, Prashanthi, Vidya, Madurika and Sarayu, were traditional, vibrant compositions.
The pieces stood out for intelligent group choreography and excellent co-ordination amongst the colourfully dressed dancers. There is much to be said about a Guru whose students turn out as personable and confident as the dancers of Natya Manjari.
While their timing and enthusiastic involvement bestowed an air of authenticity on the production, their execution of the pure dance sequences could be improved with stiffer arm movements and better araimandi stances.
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