Meenakshi Srinivasan’s performance in Kochi showcased her perfection in her craft and her acting prowess. The first item was an invocation to Krishna in which the dancer described the divine beauty of the Lord. This was a composition in Nagaswaravali set to tune by Rajkumar Bharathi.
The ragamalika varnam ‘Samiyayai azhaithodi va’ of the famed Dandayudhapani Pillai highlighted her fine nritya. As the heroine pleads with her friend to bring the Lord of Chidambara to her without delay, the friend evades her request by saying that she is intimidated by Shiva’s temper and his appearance.
Deft choreography that heightened the impact of the trikala jathi took the dance to great heights. Meenakshi effortlessly switched between the different speeds. Her nimble footwork and movements made her dance look effortless.
Kaniyal Hariprasad’s lilting rendition evoked the various emotions of romance and longing. The sancharis for the anupallavi in ‘Mamathi mukhamo kanalaay veesuthadi’ were striking. How the moon light heightens the emotions of the nayika was portrayed well. It was enhanced by an enchanting rendition of Mohanam. The scene demonstrated moments of intense abhinaya.
Jayashri Ramanathan accompanied the dancer deftly on the nattuvangam in these intricate passages, which were enriched by smart choreography.
‘Appudu manasu’, a javali in Kamas, saw the bashfulness and naiveté of a young maiden who is enthralled by the beauty of Lord Venkatesa. She tells her friend that she finds it difficult to control her emotions when beckoned by the Lord.
The most subdued yet telling piece of the performance was the ashtapadi ‘Nijagadasa yadunandane’. Her acting prowess came to the fore when the danseuse portrayed the romance between Radha and Krishna. Seated, using her hands minimally, she conveyed the mood through expressions.
The last was a thillana in Sindhubhairavi in which the dancer once again charmed the audience with her light footwork and precise movements.
