Blend of folklore and classical
RUPA SRIKANTH
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Vyjayanthimala's Siriya Tirumadal was a leisurely exposition of the nayika bhava interspersed with tantalising portraits.
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PERFECT BALANCE: Vyjayanthimala as kudakkoothan.
One should see the text of Tirumangai Azhwar's paasurams selected from "Siriya Tirumadal" for Vyjayanthimala Bali's latest production bearing the same name, to believe the enormity of the task undertaken by her. This is because, as in the present instance, the brevity of treatment can sometimes mask the effort behind the visualisation of such an edifice.
"Siriya Tirumadal" was not so much a show of the evergreen artiste's agility or reiteration of her histrionic talents; it was more on the lines of sharing an exciting voyage. It was a leisurely exposition of the nayika bhava interspersed with tantalising glimpses of other characterisations such as the kuda koothu and the kurathi.
There was an endearing simplicity to the choreography and props, bringing out the essence of Vyjayanthimala's old-world style.
The paasurams were strung together like pearls on the thread of the narrative, beautifully tuned and meticulously rendered.
And as the story of the nayika who falls in love with Lord Narayana unfolded, the dancer's vivid interpretations brought in colour, literally and figuratively. The entries as well as costumes of the special characters merit mention.
Heralding in the kudakkoothan was a crisp konnakkol recitation by the kanjira artiste, V.V.S. Manian. Dressed in a bright red jacket and a matching headdress complete with a symbolic peacock feather, and maintaining perfect synchrony despite carrying two brass pots, Vyjayanthimala personified all that is folklore and classical at once.
With her back to the audience she played out the rhythm in its entirety before she turned around in one swift movement to charm an already appreciative audience. The kurathi who came in later to help the nayika out of her lovesick state, had as theatrical a portrayal. Set to a folksy Anandabhairavi and tisra nadai beat, the music captured the vivacity of the gypsy played by Vyjayanthimala.
The dancer's detailing of some of Lord Vishnu's incarnations such as Koorma, Rama and Krishna, within the kurathi characterisation, was efficiently dealt with.
The `thoodhu' segment with a mixture of pathos and humour was also enjoyable.
But the subsequent `madal oordhal' ritual where the desperate nayika dons a palmyra stem-horse and takes to the streets heaping abuse on the indifferent Lord Narayana, ended too abruptly for its full effect to sink in. The credits for the research and music go to Dr. Venkatakrishnan, D. K. Pattammal, T.S. Parthasarathy and Bhooma Venkatakrishnan. And the credit for the good music of the evening goes to: Vanathi Raghuraman, vocal, Dr. Saraswathi, nattuvangam, P. B. Haribabu, mridangam, Vijayaraghavan, violin, kanjira and konnakkol, V. V. S. Manian.
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