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ARRESTING duo Hemanthkumar and Vijayalakshmi captivated

The audience could unerringly sense his deep commitment and sadhana. However, had he been trained with more commitment, he would have convincingly come out with subtle nuances of the art form.

The young artiste’s approach revealed indications of yoga practices too. Yet, even in this area, it appeared that it remained more on a physical rather than on a deeper plane. Otherwise, the meditative practices would have noticeably helped him to enliven finer aspects of classical sentiments, with the required depth of involvement and expressions.

In “Swami naan undan adimai” (Varna- Natakuranji- Papanasham Shivan) actions and movements (nrutha) were reasonably acute with admirable reflexes.

However, as there were deficiencies in smoothness and attention to the placements and clarity in hand gestures, the movements were more mechanical than graceful; the overall scene longed for a better taste to complement dedication. Further, the choreographer could have framed the adavus with more imagination and artistry to expose the versatility of the artiste.

Now, look at his exemplary performance in “Varuvaro varam tharuvaro” (in Ragamalika), a Tamil composition on the Tsunami-theme. Astounding expressions and precise miming convincingly portrayed the devastation to the minutest possible details, instantly carrying the audience beyond the language barrier.

Hemanthkumar Venkataramana and Vijayalakshmi’s Bharathanatya captivated the spectators in various respects.

Relatively, Vijayalakshmi has remarkably acquired better composure in her stage presence. Hemanth was expressive, but inclined to enter into overdrive unawares. A proportionate blend of gentleness would have made his approach truly aesthetic.

Except the above remark, there was nothing much to cavil at the well-conceived concert.

Imaginatively-framed adavus enriched the Alaripu, featuring crisp footwork demonstrated with ease, and intricate jathis executed with grace. Fluency was another merit, which maintained continuity in mood.

Due importance to padarthabhinaya and vakyarthabhinaya culminated in impressive facial expressions when Vijayalakshmi presented “Adinaye kanna” (Mohanakalyani- Ambujakrishna).

Subtle rechakas neatly dovetailed with gross movements leaving no room for any void. Her performance in Ashtapadi, which she later presented, also conformed to the same standards.

The focus of the concert was a varna in Rithigaula “Shri Krishnaha Kamalanatho” (Shrikrishna Shathanamashtothara-Vyaasaraayaru), in which Hemanth exhibited his proficiency in both the pure dance and abhinaya, though tinged with melodramatic expressions. The narration remarkably spread over four sanchari bhaavas –Shri Krishna’s birth, Puthani Samhara, Shakatasura Bhanjana and Githopadesha.

Compactly-knit nrutha would have pleased a serious spectator if the artiste had reined his approach by composure and chiselled the sections by delicacies.

The singer’s rich and emotive voice strengthened by melodic vocal inflections contributed significantly to the success of the show.

Hemanthkumar and Vijayalakshmi (natuvanga- in alternation), Arun Govindaraj (vocal), Anilkumar (mridanga) and Jayaram (flute) comprised the music ensemble.

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