Impressive performance
RUPA SRIKANTH
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Brisk, well-timed movements but the strain was evident in Urmila's footwork.
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CLASSIC: Urmila Sathyanarayanan. Photo: S. Thanthoni.
By definition, the term "classic" within the context of art refers to a thing of enduring excellence; it was reinforced in yet another interpretation of Guru K.N. Dhandayuthapani Pillai's varnam "Swamiyai Azhaithodi Vaa."
While the lyrical content of the navaragamalika, Adi tala composition establishes the bhakti-sringaara quotient, the shifting tunes boost its intensity. The varnam has long been a favourite with Bharatanatyam dancers across the spectrum. This time round, it was Urmila Sathyanarayanan, a one-time disciple of the late composer-nattuvanar, and his sister Guru K.J. Sarasa, who gave it pride of place in her performance.
As the dancer went through the motions of the varnam, one could not help being impressed with her sincerity and application. The complexities of rhythm within the theermanams translated into well-timed, brisk movements carving linear abstractions in space. The heroine is sick with longing for Lord Nataraja, and Urmila's portrayal was convincing. She has over the years carved a niche for herself as an accomplished performer, the extension of which lies in the danger of concentrating on the proficiency aspect. So after a point, a performance will remain just that — a performance and nothing more. The strain on Urmila is perceptible, especially in her footwork that was not as sharp and crisp as expected. She may also like to tidy up some geometry of the upper torso and arms.
Jayadeva's ashtapadi "Sakhi hey Keshi Mathana Mudaaram" in Suddha Sarang, dealing with Radha's first taste of intimacy with Krishna as a young innocent mugdha nayika, requires sensitive and mature handling. The dancer had no difficulty communicating either Radha's naïveté or bashfulness but if Urmila could hold those moments of tender passion for a longer time, it would add to the intensity of impact.
S.K. Suresh handling both the timekeeping and melody carried a heavy burden but acquitted himself admirably. He was well supported by Nellai D. Kannan on the mridangam and Sigamani on the violin.
Urmila's opening Mallari and concluding Kalinga Narthana thillana (Needamangalam Krishnamurthy Bhagvathar's version), both in Gambhira Nattai ragam, provided a dramatic entry and exit.
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