V.P. Dhananjayan is all praise for Meenakshi Srinivasan.
It's not often that we witness an evocative natya performance, endowed with all the essential qualities required for an artist. Meenakshi Srinivasan's execution of nritta (pure dance), nritya (expressive dance) and natya (drama) were all in measured brilliance bringing credit to her guru Alarmel Valli.
Calm, poised and peaceful… the rasikas went home with these feelings that evening. This is how one can describe Meenakshi's Bharatanatyam performance on November 28 at Bharat Kalachar's Swagatam Margazhi Sangeeta Vizha.
The first item, a short and crisp Pushpanjali in Charukesi and Sankeerna chappu established Meenakshi's prowess in her 'laya' (rhythm) and 'angasudha' (body line).
The varnam (nrityopahaaram) in Kharaharapriya, Adi talam 'Mohamaaginen' was a potpourri of exquisite jathis rendered by Sukhi, evocative singing by Deepu Nair (a perfect sruti aligned, mellifluous voice) Vedakrishnan's mridangam, Kalaiarasan's bhava-laden violin combined with Meenakshi's involved and communicative expressions. (The musical ensemble missed the presence of the vibrant naadam of tambura) .
However, the following padam in Khambodi (‘Rathiri Pozhudange') brought in a monotony. The Khamas javali (‘Appudu Manasu') would have been a better choice after the varnam to balance the mood. Of course, Meenakshi's performance for both was commendable.
The brilliant Nrittangaharam (Desh tillaana) composed by Rajkumar Bharati was juxtaposed with Sukhi's konnakkol and beautiful and neatly executed angaharas by Meenakshi. The Shanti mantra at the end as Mangalam elevated the audience to sublime levels, proving that a good natya presentation can educate, enlighten and entertain the people.