A captivating ballet
GUDIPOODI SRIHARI
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`Kalyana Ramam', an aesthetically choreographed ballet, presented episodes from the Ramayana.
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PHOTO K.GAJENDRAN
EPIC FEST Kalyana Ramam, being enacted by Mahati Music Academy
Mahati Music Academy was born out of strenuous efforts by noted lyricist and singer Usha Kanth, who now also skilfully converts his own lyrical contribution into visual beauty. This time he crafted a garland of his melodies narrating some sequences of Ayodhya Kanda of Valmiki Ramayana and converted it into a dance ballet.
This effort was showcased on Saturday as a pleasing dance ballet at Ravindra Bharati. Titled Kalyana Ramam, it was in simple, lucid Telugu that could easily be understood by everyone in the auditorium. To make it clearer, the academy recorded the music with Ushakanth, his son Dr. Srikanth, Siva Rao, Radhika Lakshman and Prasanna Lakshmi. In fact, this pre-recorded music and good sound system helped the ballet in two ways - presentation of each scene with perfection and in setting correct pace to the ballet.
There were 15 characters on stage. Almost all the actors looked effective in their roles thanks to the make up by Kesav Rao of Surabhi theatre. Girish (Srirama), Dr. Suseela Srikanth (Sita), Rohini (Lakshmana), Sekhar (Viswamitra), Chinta Siva Narayana of Kuchipudi origin (Dasaratha) and Srinivas as (Janaka) played the major roles.
The choreographer is veteran Uma Rama Rao, former head of the department of dance in Telugu University. Dr. Suseela, who played the role of Sita, also a good dancer herself, assisted Uma.
The narration of the popular story began with the birth of the four sons to the three queens of Dasaratha and ended with Rama winning Sita's hand in the swayamvaram.
The scenes that marked the progress of the ballet were Viswamitra preaching the Bala and Ati Bala mantras, to Rama and Lakshmana that made them invincible, Tataki Vadha, Yaaga Samrakshanam, Ahalya Saapa Vimochanam and the Sita Swayamvaram. The sequences that showed the killing of the demons Tataki, Maricha and Subahu were intelligently handled, through sensible mime, with enough body language that made us believe they were shooting arrows and killing them, even when their hands were empty.
Sound and light effects accentuated the impact. Ushakanth, who directed the drama, used the traditional role of Sutradhara (Padmaja) to connect the theme. The opportunity to display dancing skills arose only with the introduction of Sita's character along with her sakhis. Rama's first glance of Sita and both falling in love were impressively handled, projecting Sita's satvika role aptly, brilliantly interpreted by Suseela. She was well supported by good lyrics.
The song Kailasa Vasini Sarvani in raagamalika was the highlight of the production. The Sita swayamvaram sequences too were precise and sweet. Music, concept and direction were by Ushakanth. This ballet is worth another viewing.
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