Vibrant with emotions
LALITHASAI
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Lalitha Prabhavam, presented by Saraswati Gana Nilayam invoked memories of the classic, originally presented decades ago.
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Photo: B. Jothi Ramalingam
Nostalgic trip: Lalitha Prabhavam
Captivating music and lyrical beauty dominated ‘Lalitha Prabhavam,’ the dance-drama that was staged at Narada Gana Sabha, Alwarpet, at the 70th anniversary celebrations of Sri Saraswathy Gana Nilayam, Triplicane, on July 26.
It was actually nostalgia for the past pupils of SGN, ‘Prabhavam’ being one of the earliest productions of the Nilayam. Conceived and choreographed by Lalitha, the founder who wrote the lyrics, the work this time was revived by Padmalaksshme Suresh and Padmini Krishnamurthy, senior disciples running their own schools.
‘Lalitha Prabhavam’ opened with an impressive thandavam, that of Siva and Parvati, the roles donned by Padmalakshmme and Padmini respectively. . Overcome by a desire to attend a yagnam performed by her father, Parvati seeks the permission of Siva. Padmini’s expression was pleading while approaching her consort. She proceeds to the yaganam in spite of the objection he raises.
The innovative choreography of Ranganayaki Jayaraman, Director of the Nilayam, came to the fore in the next scene when tribal women converse about what happens to Parvati when she visits the yagnam and the need for birth of Lord Muruga. The next scene witnessed an interplay of drstis such as kanta, karuna, bhayanaka in the conversation between Rathi and Manmatha. Beginning with sringara it ends with karuna, as Rathi fears that Manmatha would definitely face the wrath of Siva (for aiming the arrows at him). Vocalists Radha Badri and Asha Ramesh, tackling Desh and Suba Panthuvarali did their part well.
Chitrakarma recreates Bandan from the ashes of Manmatha and no one could have suited the role better than Binesh Mahadevan. He acquitted himself very well during the court scene when six dancers sing and dance in praise of him. Pleasing angasoustava and melodious Dharmavati added lustre to the scene.
With gay abandon and verve Binesh as Bandan easily stole the show. His abhinaya was a combination of vira and bibhatsa. Even as half of his moustache fell off he threw away the other half with an air of confidence and proceeded drawing great applause from the audience. Serene was the scene when Siva as Kameswaran gets married to Kameswari (Parvati). The song ‘Jeya Jeya Devi’ in Revathi was apt for the sequel. As advised by her consort Kameswari creates her Sampathkari, Aswararudai, Dandini and Manthrini. The special effects by Parthasarathy definitely need a mention here as Sakti moves in a chariot.
Prove their mettle
Depicting the war that between Sakti and Bandan, both the dancers proved their mettle, in executing bhava, subtle movements, agility and precise nritta. Especially the throes of death were well captured by Binesh. Padmini was equally efficient showing her prowess as she ends the life of Bandan. Impeccable artistry was evident in the adavus and abhinaya of the artists. It was a praiseworthy performance as a whole and the choreography by Ranganayaki Jayaraman stood out. That the play had more than 40 ragas spoke volumes of her creativity.
The music composed by the late D.B. Ramachandran had been retained. The orchestra consisted of N. Balaji (veena), A. N. Bhagyalakshmi (flute), Nellai Kannan (mridangam) and Vijayaraghavan (violin). Thevocalists were Asha Ramesh, Radha Badri and Chitrambari Krishnakumar.
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