Accent on abhinaya
Sarayu Sai
IN SARAYU Sai's dance recital for Kapali Fine Arts, abhinaya gained more importance than nritta. To begin the programme with a song "Durge Durge'' in Revathi did not seem quite suitable. It did not give much room either for nritta or abhinaya.
A brisk alarippu or kavuttvam would have set the mood better.
This song was followed by the Dhanyasi varnam, "Nee Inda Mayam''.
Even though she did attempt sancharis, somehow, the emotional depth was lacking. Sarayu Sai seemed to do the teermanams with total ease. The post-varnam segment had two padams dealt with at length.
In fact these received more attention than the varnam. "Vilayada Idu Nerama'' in Shanmukhapriya, in which the heroine pleads with Lord Muruga, began with the story of Valli Kalyanam in abhinaya, with only the violin and mridangam accompaniment. Both Sikamani on the violin and Sudhaman on the mridangam did an excellent job in creating the dramatic effect. In the saranam, Sarayu took up the episode of Avvaiyar with Muruga as a cowherd boy. In both the stories, she enacted the roles of the old man and old woman quite effectively as well as the young cowherd boy.
The next padam was "Muralidhara Gopala'' in Maund with the episode of Draupadi Vastraapaharana enacted for Sanchari.
The recital ended with a tillana in Mohanakalyani. Sarayu's footwork was neat and Angasuddha was commendable. One could see a real `araimandi' after a long time.
Vocal support was by Vanathi Raghuraman and nattuvangam by Lakshmi Ramaswamy.
LV
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