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Photo U.Subramanyam

Talking eyes Shobha Naidu in Srinivasa Kalyanam.

The lead roles of Vishnu in ‘Vaikuntam’ and Srinivasa in his sojourn to earth were donned by good looking Sujatha Murthy, an experienced dancer. She teamed well with Shobha Naidu portraying his consort in both the worlds. Sage Narada (Nitya Subhaprada), author of intrigues, aimed at ‘Loka Kalyanam’ (happiness of world), prompts Sage Bhrigu to pronounce, who among the pantheon of gods is worthy of receiving the ‘Yagna Phala’. Bhrugu, known for irritable temper, proceeds to Kailasa and feels he was ignored and insulted by Siva and Parvati. He also gets the same treatment when he goes to Brahma. Both the Gods receive his curses. The final destination of Bhrugu was ‘Vaikuntham’ of Mahavishnu. There too he doesn’t draw their notice. Enraged and vexed, Bhrugu kicks on the chest of Vishnu, a place where, it said, that Maha Lakshmi has her place. The goddess takes a deep umbrage for the way her Lord was pacifying the sage, she leaves Vaikuntam in hush and reaches the earth, where Akasaraju finds her as a foundling. He adopts her as his daughter and names her Padmavati. Prompted by Narada, Vishnu too descends to earth in search of Lakshmi and engages himself in penance. A mole hill forms around Him. Lord Shiva and Brahma follow Him and become a cow and a calf. Saraswati becomes a shepherdess. The king’s cattle care taker notices the cow standing on the mole hill and opening up her udder over the more hills, for Srinivasa’s sustenance. He throws a stone at the cow, which hits Srinivasa on his head. His presence thus revealed and Vishnu, with the new name of Srinivasa, moves to Vakula, who was none other than Yashoda in her previous birth. These scenes were loaded with full of drama, adding a folk touch to the lyrical content. Sage Narada tells Vakula to go Akasa Raja and propose the alliance between Srinivasa and Padmavathi. Srinivasa himself becomes the Erukalasani (sooth sayer); played by Saraswati Purnima, and predicts the marriage with Padmavati. Saraswathi’s performance was quite interesting. The matching music, provided by Kocherlakota in Raga Madhyamavathi with apt embellishments was at its best. Swetha rendered the ‘Sodi’ with perfection. The wedding of Srinivasa and Padmavathi thus fixed was the concluding scene, watched by the Gods above. Padmavati’s entry song, Vedalinide Padmavathi in Kamboji sounded like any concert piece. Similarly Nandanivani Tho Samanamu in Kharaharapriya, showing Padmavati and her maids playing in gardens was a scene to watch for its choreographic excellence. Vatchipade Vatchipade was another impressive song that preceded the scene of Padmavati and Srinivasa meeting each other for the first time and falling in love. These scenes were thoughtfully couched in narrative mime. Shobha Naidu’s performance as both Lakshmi and Padmavati was so refined that it showed her vast experience as a danseuse and an impressive choreographer as well. Pallavi Hansraj played the role of Gollabhama. All the dancers in the cast did a good job. Mahankali Mohan, the veteran nattuvanar, conducted the dance with impressive nattuvangam. Amalapuram Kanna Rao lent the vocal support followed by Manda Krishna Mohan and Swetha (Ravindra Nath) Prasad also lending their voices. P.R.C. Sarma was on mridangam, with Sridhar Acharya on the tabla adding to the percussion.

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