Young danseuse Adabala Kavya Smrithi's sprightly performance of Kuchipudi wowed the dance aficionados at Kalabharati, Visakhapatnam with her varied shades of excellence in nritta, nritya and abhinaya. Her dance has zip and zing that jets out not just by her sound grounding in the grammar and syntax of the art form but because of her uncanny ability to bring out the emotional contours of the characters being portrayed.
From the joyous Lord Ganesh dancing in an ecstatic mood to the possessive Satyabhama in pangs of estrangement pining for her Lord Krishna; she essayed an array of characters with ease and poise. The training imparted by Guru Hari Rama Murthy, a stickler in traditional perfection, remained evident in every turn.
The inaugural piece Vakratunda Mahakaya in raga malika, an invocatory in praise of Lord Ganesh was a perfect way to start her performance. The rest of the performance followed suit. Her energetic portrayal of Tandava Nritya Kari Gajanana — found a captivating expression both in foot-work and abhinaya. She was at her best as Satyabhama in the episode of Lekha, in Kuchipudi's mainstay, Bhama Kalapam. She delineated the emotional landscape of Nayaki in soured romance, who pens a billet-doux for her Lord appealing to to neglect her. Another piece that brought out her artistic acumen were the Navarasas which she depicted with élan through the portrayal of Lord Siva in different moods. Kavya's articulation of roudra rasa — the mood of fierceness for the lines Tripurasuralanu chendina Gandadu roudra rasa pratiroopudu was stirring to watch. With its refrain Abinaya Chaturudu Parameswaradu, avatarinche nava rasa tanudai — the navarasas came to the fore with intense appeal. Prevesa Daruvu of Usha from Usha Parinayam in raga Kedara Goula set to talam Adi sparkled in myriad charms unfolding the grace in gait as a princess Usha, the daughter of the mighty Banasura sauntered in her royal way, which Kavya did it with aplomb. Her presentation of Narayana Theertha's Tarangam Govardhana giridhari stood out for its detailed presentation in a wide range of sanchari bhavas particularly her expression for Lord Krishna's childhood pranks was simply superb. The other notables in her performance were Kulakaga nadavaro of Annamyya, Javali Entati Kuluke of Dharmapuri Subbaraya Iyer and she rounded it off with a bubbly Tillana in raga Putrika.
Guru Hari Rama Murthy's nattuwangam, DVS Sastry's vocal, N. Phani Kumar's mridangam, S Murali's flute, A Satya Vishal's violin and R Sudhakar's veena made an effective contribution to the performance.
