Sumitra Subramaniam was not lacking in emotions either.
‘Azhutham' in Bharatanatyam, which at best translates as firm execution in English, was the base for Sumitra Subramaniam's presentation for Vipanchee. Sumitra's forte is her dedication to nritta and this was expressed most clearly in the ‘Mohamaana' varnam (Bhairavi). Major attractions here were the correct resolution of rhythm and emotion in the alternating sequences of jatis and song. What made a difference was the upbeat interpretation which was in good taste. The nayika's psychological state was aptly conveyed without crude or suggestive gestures. At the same time, Maaran (Cupid) and his many arrows were given due emphasis. The arudhis in the second half which depicted Cupid showering his arrows were gracefully depicted with little leaps and bounds which underlined the dancer's agility.
The calm technique of nattuvangam by mother and teacher Jayanthi teamed well with the melodious voice of Radha Badri.
While the varnam addressed Lord Siva, the initial number Vishnu Kautuvam and Misra Alarippu gave good preparations for the major piece. A padam and javali followed with ‘Indendu' and ‘Smara Sundaranguni' in Surutti and Paras respectively. Sumitra's delineation of sarcasm as the khandita nayika was quite in line with the betrayed woman's reactions. Other than a passing gesture where the hero was dealt with too casually, Kasturiranga the hero was given a fitting treatment by the haughty lady. The javali recreated a woman who is obsessed with her paramour. Though Sumitra's admiration and body language conveyed the picture of the perfect hero she could have taken the subplot a step further even within the tight boundaries of a javali.
Thillana in Brindavani, a composition of Balamuralikrishna, was filled with energetic leaps and araimandi poses in praise of Lord Krishna.