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Music Season
BHARATIYA VIDYA BHAVAN
In tune with the season
LALITHASAI
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Sri Saraswathi Natyalaya, Muscat, presented a feast for connoisseurs, recently.
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Soaked in Bhakti: Periyazhwar and Andal
For connoisseurs of dance witnessing ‘Choodikodutha Chudarkoki,’ the dance drama staged at Bharatiya Vidya Bhavan, Mylapore, was a refreshing experience. The recital was by Padmini Krishnamurthy and her students of Sri Saraswathi Natyalaya, Muscat.
The repertoire comprised the story of Andal, one of the Azhwars. The awe-inspiring scenes took the audience on a musical journey. It brought out the nayaka nayaki bhava of Andal and Lord Ranganatha.
The drama began with baby Andal being discovered by Vishnu Chithar, at the garden near the temple, in the village of Srivilliputhur. While describing Periyazhwar’s Pasurams, Padmini as Vishnu Chithar showed maturity and involvement. As the play progressed, the entry of Baby Shivani as Andal made the audience sit up. Along with others, she sailed smoothly through three to four ‘Tiruppavai’ songs, such as ‘Margazhi Thingal’ (Nattai), ‘Vaiyathu Vazhveergal’ (Gowla) and ‘Koodarai Vellum’ (Poorvi Kalyani). Each was followed by jathis in chathusram and misram.
At this point, the play moved on to ‘Nachiar Tirumozhi,’ which was all about Andal imagining herself to be a gopika. ‘Thai Oru Thingal’ in Arabhi revealed her love for Lord Krishna. Baby Shivani’s abhinaya was at its best for ‘Sitril Sethaiellae’ (Kaanada) when she went about decorating her village with sand castles in order to invoke Kama who in turn would help her unite with Krishna. For a child of 11, it was hard to believe that Shivani could bring out the sringara rasa with such involvement.
The choreography skills were abundantly displayed in the lines, ‘Varanam Aayirum’ (where Andal dreams of marrying Lord Ranganatha). Ashina Nasrudeen showed her love for Krishna in all its poignancy. She sent messages to Krishna through the clouds and sea, to seek her hand. The scenes that followed were about how Krishna, the great lover taunted Andal.
In the dazzling finale Andal was taken to shrine of Lord Ranganatha to be given off in marriage. Their union was treated with superb artistry and here Padmini excelled in her role as the father. Shivani, was brilliant as the second Andal with abhinaya and araimandi coming to the fore. She enacted each scene with finesse and admirable co-ordination. Particular credit should go the choreography of Padmini Krishnamurthy. Fine performances also came from Swetha Gopal, the first Andal, and the other children.
The script was written and compered well. Vocal rendition by Chitrambari and Usha Padmanabhan made the performance lively. Srinivasan’s excellent bowing and the melodious notes from the flute of Bhagyalakshmi blended harmoniously into the song and dance. Dhananjayan playing on the mridangam had aesthetic and rhythmic appeal.
The troupe had acquired scholarly guidance from Velukkudi Krishnan. He had helped them in weaving Periazhwar’s pasurams with ‘Nachiar Tirumozhi.’ The play was set to music by R. Vedavalli and the pasurams by Usha Padmanabhan. The creation was made wholesome by the Padmini Krishnamurthy’s nattuvangam.
Padmini started Sri Saraswathi Natyalaya in 1997 in Muscat. In these 10 years she has given many solo performances in Chennai and Muscat. She has choreographed dance dramas such as ‘Srinivasa Mahatmiyam,’ ‘Ayyappa Charitham’ and ‘Shiva Leela.’ ‘Panchakriya’ and ‘Saravanabhava’ are some of her other ballets which have been staged in Muscat. Padmini is a student of Ranganayaki Jayaraman since 1980.
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Music Season
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