Colourful dance narrative

A scene from "Silappadikaram — Tale of Puhar" — Pic. by K. Pichumani.

A WELL-PLANNED teamwork, dedicated participants, excellent music, a talented orchestra, and above all, very simple yet sincere dance narrative of the main story based on the original epic-poem, have all contributed to the success of the `Tale of Puhar'. Devised and executed with deep involvement by Sudharani Raghupathi, this chosen task of the collaborative production of Silappadikaram, proved to be a commendable effort. The ballet was presented by the students of Sudharani and those of the India Study Group from the Colgate University, U.S. led by Prof. William Skelton, scholar and Carnatic musician, who is well-known in South India as a dedicated Nagaswara player.

The inaugural show of this ballet was held under the auspices of Kartik Fine Arts.

The story of Kannagi and Kovalan formed the basis of the ballet, which had a lively, colourful treatment.

Scenes were basically Bharatanatyam-oriented, with very simple structures to suit the collaborative effort. Dancers of both groups revealed hard work and presented smooth portrayal of the given roles.

Senior students of Shree Bharatalaya, like Priya Murle (Kannagi), Aruna Subbiah (Kattiyakkaran), and Padma Raghavan (Madari) were skilful. However, Priya Murle's enactment of the final scene, depicting Kannagi's anger at the injustice caused to her, and seeking the help of the Fire God, were too subtle to create the necessary impact. Some of the younger students, especially Sridevi as Madhavi, were apt choices. Nathan Smiley (Kattiyakkaran) and Cameron Pittelkow (King) gave impressive performances.

Vijay Palaparty, also from the study group, as Kovalan, exhibited skill in nritta and revealed some prior experience. Sudharani, apart from choreographing the entire play in a fitting manner, played with dignity, the role of Kavunthi, the Jain Saint who helps and guides the young couple to reach Madurai.

The scene of Indra Vizha was depicted with joy and confluence of cultures creating a jubilant atmosphere. The ballet explored the four-fold aspects of total theatre. `Vachika,' (English narration by Prof. Skelton) from Backstage at appropriate contexts linked up the details of the storyline. The Aaharya (costume) was very pleasant and appealing.

The highlight of the production was certainly the musical genius of Madurai N. Krishnan, who had composed a soul-filling stretch of ragas to suit the mood of each and every scene.

Sripriya Kamakshidasan, the main singer, extended a very solid, learned approach to each poem and sang with feeling.

N. Sasirekha, the versatile, young conductor, is an asset to Shree Bharatalaya. Vijayaragahavan's mellifluous strokes were soothing.

The most dynamic, energetic, skilful member of the orchestra was K.S.R.

Aniruddha, excelled by giving the right touch to every scene with his brilliant play of the mridangam; he had also composed several lively jati patterns to enhance the beauty of the different situations. He was the real driving force behind the entire orchestra.

The play concluded with Kannagi being propitiated as Goddess, a status that she deserves for her chaste, devout life, marking her as the prime character of Silappadhikaram, which makes the epic distinctive for the status it gives to woman.

NANDINI RAMANI

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