Excels in nritta
TULSI BADRINATH
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While Lavanya was sound in technical aspects, Deepika Reddy showed a penchant for abhinaya.
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Photos: R. Shivaji Raoand and V. Ramamurthi.
NEAT LINES: Deepika Reddy and Lavnaya Ananth. Photos: R. Shivaji Raoand and V. Ramamurthi.
Lavanya Ananth moved on to the grand Bhairavi varnam "Mohamana," after a brisk Alarippu. Her nritta was marked by neatness and clean lines. The theermanams were performed in a sprightly way, and delivered with ease. Lavanya was sincere in expressing the nayika's feeling of anguish at separation from her Lord Tyagesa of Tiruvarur. Her bhava was quiet and contained, but effective.
While the nritta and nritya were admirable in their technical aspects, Lavanya did not project her dance in a way that carried its impact far beyond the frame of her body. There is more potential to be tapped. It will come to the fore when she assumes a more commanding personality on stage.
Her costume was a safe bright red with a green blouse. However, the border, in the current jacquard trend, gave the impression that the zari had worn away in places.
Sometimes the latest fashion in saris might not translate into good costumes on stage. Preethi Mahesh sang with great feeling. Her Bhairavi was rich and her Kapi tugged at the heart. It created a fertile medium for Lavanya to explore "Jagadodharana" through abhinaya.
Lavanya had wonderful musicians providing support. Sukhi came into his own in the enunciation of sollukattus in the ragamalika tillana composed by Balamuralikrishna. His strength with tala was showcased when, alternately, Lavanya danced and he articulated the jatis.
Shaktivel Muruganandam imaginatively matched Lavanya on the mridangam. Kalaiarasan, like his name suggests, played with royal confidence.
The stage at Balamandir German Hall does not provide an environment conducive to a dance performance. Pedestal fans placed in front of the stage, rarely switched on, obstruct the view of the dancer. Surely sabhas have a duty towards presenting talent in the best manner possible?
When Deepika Reddy presented Kuchipudi at the German Hall, her dance was clearly far superior to the surroundings. She was striking in "Shiva Shiva Bhava Bhava Sharanam," by Narayana Teertha, where the story of Ganga's descent to earth was narrated. Mosalikanti Kishore, choreographer, must be congratulated on the way the river surged and flowed in great waves from the heavens. In an imaginative use of space, the dancer moved from the back of the stage to the front, creating the image of a stormy descent. Equally praiseworthy was the depiction of Siva taming the river, releasing it at his will. The tarangam, on a brass plate, was performed in this piece.
Deepika's forte is clearly abhinaya and her mobile face is able to communicate intricate ideas as well as hold the audience's attention. Tall and slim, her nritta is very graceful.
In Kshetragna's "Eduvanti Vaade Vaadu," in Kalyani ragam, Deepika was entirely convincing as the mature woman of the world who on hearing about handsome Muvva Gopala asks her friend about his status, and means. Guru Vempatti Chinna Satyam's subtle touch was evident; an alapadma denoting a lotus and a bee hovering over it were sufficient to convey the nayika's amorous desires.
Streeprayam sought to relate to contemporary times. Draupadi's story was enacted as a tribute to, and example of, the indomitable courage and fortitude of Indian women. Adopting the Eka Patra Kelika gave Deepika great scope for abhinaya, as she played Dusshahsana, Duryodhana and Draupadi with aplomb. M. Kishore conducted the show with dignity. Ramesh sang with involvement. Hari Babu on the mridangam, Bhavani Prasad on the veena and M.S. Kannan on the violin provided music of a high standard.
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