Instructive and entertaining
|
Krishnakumari took the content beyond mere story telling in "Sri Maha Ganapathi."
|
MEGA SHOW: Krishnakumari Narendran's group presenting `Sri Maha Ganaptim.' Photo: Vino John.
Guru Krishnakumari Narendran does not miss an opportunity to educate. Her productions instruct as they entertain and are usually an unabashed blend of theatre, elaborate props, costumes, audio-visuals, music and dance.
Krishnakumari's latest "Sri Maha Ganapathi" presented with 52 students of Abhinaya Natyalaya was one such mega show that also marked the silver jubilee of the institution and its 50th production.
Though the many-tiered edifice almost assaulted the senses with an overkill of sound and theatrics, one must appreciate the painstaking research and devotional component that were embedded within. Krishnakumari took the content beyond mere story telling, deconstructing myth to rationalise the common rituals associated with Lord Vinayaka.
Scripted by Srikavi and composed by Kunnakudi Vaidyanathan, the fairly long dance production detailed the leelas that explained the origin of the practice of bowing to Lord Vinayaka before initiating any new ventures; the Pillaiyar suzhi; the toppu karanam; the mooshika vahanam; thalai kutti, naagabaranam and the arugampull archana. The finale was a show-stopping darshanam of Shodasa Ganapathy composed in a 16-ragam-talam musical score.
The narratives were handled with clarity and punctuated with momentary spells of humour. The Gajamukasura and the Ravana episodes were the most enjoyable. The visualisation of Subrahmanya's chariot when he sets out to kill Taaraka was perhaps the high point of the entire evening. With Brahma as the charioteer, Suryan and Chandran as wheels, Vedas as the four horses, and so on — the detailing and presentation were remarkable. But through the production, it was the coordination of the dancers that stood out.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
