The first thing one noticed about young Bharatanatyam dancer Rachana R. Narayanan was her sophisticated costume — an unusual combination of turquoise blue silk and gold Banaras brocade. The second was an unerring sense of timing. Rachana, a disciple of dancers Nalini Prakash and Padma S. Raghavan, both graduates from Guru Sudharani Raghupathy's Shree Bharatalaya, is clearly a good student. She is meticulous and you can see that she herself is particular about getting it right.
Rachana's style has matured -- her body posture is straighter and more dignified and her lines are sharper. She was full of energy and enthusiasm as she cruised through the sparkling Shree Bharatalaya jathis that evening when she performed for the Brahma Gana Sabha. Only the araimandi stance was wanting in the almost-perfect execution.
Rachana is also less self-conscious in the expressive sections. The background behind the Narasimha and Vamana avataras in the Pantuvarali padavarnam (‘Engum Niraindha Paramporule,' Adi, Madurai N. Krishnan) was retold clearly. Especially interesting was the capturing of Vishnu's moods in the Narasimha avatara, the ‘ghora roopa' or ferocious form as a lion-man and the ‘saumya roopa' as a benevolent God. The devotee cranes her neck to catch a glimpse of the deity in Thirumala... This was perhaps Rachana's best moment that evening when she unconsciously assumed the role and ceased to play-act.
An explanation of the context of the Meera bhajans ‘Jaya Krishna Murari' and ‘Chalomana Ganga Jamuna Teer' (Yaman Kalyani) would have made a difference as the full import of the piece did not come through. ‘Indendu Vachitivira' (Suruti, misra chapu, Melattur Kasinadhayya) presenting an angry and sarcastic heroine was however clear and easy to understand. As the dancer matures and identifies more with the characterisations, her eloquence will deepen.
Opening with benedictions for Shree Bharatalaya and the satellite Silambam dance schools, Nandini Anand (vocal) was in great form that evening. Her voice modulations while listing the names of the avataras (additions to the varnam anupallavi) was enjoyable as for example, a full-throated ‘Parasurama' contrasted with a soft ‘Rama' marrying mood and melody simultaneously. Professor Kandadevi Vijayaraghavan's melody was hauntingly tuneful and the Yaman Kalyani and Hamsanadham openings were delectable. Nellai D.Kannan (mridangam) played with great care for the dancer and nattuvanar; his memorable moment was in the transition korvai in the varnam before launching the charanam. Padma (nattuvangam) was a picture of confidence and authority as she guided the dancer skilfully. She too has matured as a guide and teacher.
