Perfection in sync, footwork, gestures with a rapid execution of the narrative holding the audience's interest all through, high editing skills, aesthetic stage management –all these and much more go into Anitha Guha's productions. Mahadevam Mahasenam Bhaje culled out of the Shivapurana , makes for a scenic representation of Shiva-Sati story leading to Daksha yagna and reincarnation of Parvati; Siva-Parvathi episode leading to the adoption of Armughan (Kumaraswami) as their son. Interlacing this are the Rathi-Manmadha entry and the six Murugan's finally fusing into one. What draws one's attention, appreciation and applause is the dance (nritya) element in Anitha Guha's presentation. Right from the tiny tots (in this case Murugans) to the senior pupils, every single dancer delivers nothing but flawless footwork with adorable abhinaya and hastha mudras. The narrative picks up momentum as it proceeds and you feel a sense of rhythm like that of Tennyson's ‘The Brook.' The digitalized backdrop of the Himalayas as and when Mahadeva-Sati or Shiva-Parvati takes to the stage served to lend a depth to the scenario. The jati patterns of the former as they dance their way into our hearts was distinctly different from that of the latter though both are supposed to be manifestations of the same God and goddess. The Shiva-Parvati nrityam was the Ardhanareeswaram, and to say it was superb would be an understatement. Exquisite stances and precision in movement marked their ‘fused'dance. You can never say ‘enough' if it's Anitha Guha. When they are so many dancing, there is bound to be repetitive adavu patterns, but not with her. Even the cute Murugans who enter like little soldiers display varied skills both in footwork and gestures that the audience watched them in rapt attention. The dance at times was to sheer jatis, at times to pure music and only sometimes to song and music. Each held an allure that had a unique appeal. The Rati-Manmadha for instance danced like an esoteric couple in love.
While the pramadaganas in Kailash gave an awe-inspiring performance in the presence of Lord Shiva. Daksha Prajapati danced like a king taunting his daughter for having come uninvited for his yagna. Sati had different dancing moods- happy and competitive when with her consort, sad and downcast in the presence of her father and full of maternal affection (as Parvati) when she sets her eyes on the six Murugans in play. The production was a part of Kalasagaram's annual festival being conducted at Keyes High School auditorium.
