Spotlight on iconic women
RUPA SRIKANTH
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Cleveland Cultural Alliance's E'kaantha Seetha exalted the strong women of mythology and history.
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PHOTO: SHAJU JOHN
SENSITIVE PORTRAYAL: Rani of Jhansi.
The high pitched peal of temple bells heralded the arrival of the Ganesha procession. Singing the praise of the deity, the devotees wove through the audience before the idol was symbolically immersed in the sea. This was the high-energy opening of ``E'kaantha Seetha... a lonely furrow," produced by Cleveland Cultural Alliance that premiered in Chennai before their tour of North America.
Dedicated to S.Manjubhashini in her birth centenary, this production seeks to exalt womanhood using a wide canvas that made examples of strong women in mythology and history, such as Vaidehi and Rani Laxmibai of Jhansi, before coming to today's iconic woman, Aparajitha, who triumphs over similar trials.
Vibrant panorama
The detailed research, the excellent yet unobtrusive musical score, the sensitive dance choreography and tasteful costumes had come together seamlessly in a vibrant panorama. This could not have been achieved without individual and collective passion.
The dance choreography by the Dhananjayans kept the presentation moving, while not sacrificing the inherent pathos. The scenes between Vaidehi and her boys were particularly poignant, as was the scene of Rani's death. The scene proclaiming Gangadhar's death was a masterstroke where the news literally passes from one to another.
The music composition by T.V.Gopalakrishnan was remarkable in its predominantly instrumental simplicity. The different style of music for each segment was tailored to perfection with the extra inputs of the narration neatly incorporated.
The concept and script by Ranjita Ashok went hand in hand with the presentation. The narrators were not left superfluous; they were there to capture and convey the story without giving away any of the drama in store. But it was the last act that brought out the best in the writer's ammunition of wit and cynicism.
The costumes by Lakshmi Srinath were appropriate and practical, yet stylish. The effect of layering without the bulk came across effectively. Vaidehi's costume was especially gorgeous.
Lakshmi Krishnamurthi's set designs were minimalistic and classy.
Well-coordinated
The dancers were well co-ordinated and gave energy to the production. Srilatha, Sujatha Srinivasan and Pavithra Srinivasan, as the protagonists added depth to their roles, while Shantha Dhananjayan and Rathna Kumar as narrators and bards felt over-qualified for the sidelines. Dhananjayan as Guruji in the last segment played the part of a mentor with great tenderness.
Despite so many pluses, there are some points that need to be addressed, the most obvious being the length of the production.
The next is the irony — finally it is a man, the teacher, who gives Aparajitha the strength to believe in herself and blaze her own trail. And the third is to do with the aesthetic quality of the production that rapidly deteriorated towards the end with the loka dharmic scenes of the drunks in the marketplace and the shady characters at the tea stall. These issues apart, this is a `must-see' programme.
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