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Photo: N.Sridharan

Inspiring work: ‘Krishna’ by Shijith Nambiar and group.

This is a thumbs up for the young choreographer’s visualisation, for the splendid musical score arranged by Easwar Ramakrishnan and for Leela Samson’s foresight in promoting in-house talent.

What sets ‘Krishna’ apart is its interesting group choreography. This young faculty member in Kalakshetra has imbibed much from Rukmini Devi’s remarkable choreographies and has brought to the table a fresh perspective, the perspective of a younger generation that is more energetic and athletic.

Shijith’s remarkable detailing layered the text as in the case of Dasavatharam in ‘Paarkadal Alai Mel’ in ragamalika, (Adi), originally sung by M.L.Vasanthakumari in the movie ‘Raja Desingu.’ Though each episode was short, the treatment was varied; while some were enacted, with or without narrators, others were simply recounted. Change was the only constant with switches in role play adding to the collage of characters. It was truly an inspired work.

‘Krishna’ maintained its liveliness despite over-shooting the time frame by about 50 minutes. It was the dynamic movement choreography that kept up the momentum. The choreographer made use of some interesting patterns, especially the diagonal, that covered the large stage space. The rhythm per se was simple, sometimes in fact too much so, but the well-trained dancers gave it some sophistication with their discipline and co-ordination.

Besides the choreography, the music was another winner. Shijith had based his production on popular compositions, but it was the music arrangement that made the difference. Particularly melodious were Vyasarayar’s ‘Krishna nee begane’ in Yamunakalyani (Misra chapu) talam modified by Eashwar and Ambujam Krishna’s ‘Gaana mazhai’ in ragamalika, Adi talam, modified by O.S.Arun.

There was a bit of theatrics too like the drum dance with a pancha nadai, the elaborate pravesham of Krishna in ‘Krishna nee,’ the use of blue scarves for water in the Kaliya Marthanam scene, et al.

They were aesthetically presented within the framework of the ballet and enhanced the picturesque landscape. The excellent group of musicians led by Eashwar (violin), were: Haripadman (nattuvangam), Deepu Nair (vocal), Sasidhar (flute), Bhavani Prasad (veena), Karthikeyan (mridangam) and Suresh (chenda and Vadivel, tabla).

The dancers were Shaly Vijayan, Ajessh, Nitheesh Kumar, Jaya, Arun, Syamjith, Parvathy, Rajamally, Haritha, Vidya, Suhasini and Shijith. There is scope for improvement in ‘Krishna.’

While the nritta passages could be more challenging and the contrived posturing in ‘Jamuna kinare’ and in ‘Chaliye’ by Maharaja Swati Tirunal in Pilu and Brindavana Saranga could be avoided, one must first applaud this young choreographer for a job well done.

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