Expressive, Varsha Suresh displayed impressive talent.
One can safely say that Varsha Suresh, disciple of Guru K.J.Sarasa, is high on the learning curve. In her Bharatanatyam recital for Kala Pradarshini, Varsha displayed an impressive range of skills, in both abhinaya and nritta. One also sensed her joy while dancing which is the most important requirement in a dancer, and all the more precious because it cannot be learnt. There is scope for improvement though; Varsha ought to identify her weak spots and work on them.The 45-minute varnam, `Swami Ninne Kori Naanura' in ashtaragamalika, (Rupakam), a composition of Ponniah Pillai, was a mammoth effort where music, rhythm and dance flowed together effortlessly. There was no hesitation from any quarter on stage while the lovelorn nayika held centre stage. Varsha is expressive and her conversations with Brihadeeshwara were natural. The sanchari of Markhandeya's devotion and the depiction of viraha through the imagery of the peacocks and the lotus caressing her face were portrayed clearly. The crisp, lilting theermanams delivered by Ramya Rajeshkumar and Guru Sarasa were handled with ease by the dancer, but the effort was not good enough. The araimandi posture has to be maintained consistently, footwork should be sharper, an extraneous jump ought to be attended to and the dancer ought to be lighter on her feet. The position of the elbow too needs some attention.`Indendu vachitivira' in Suruti and `Vishamakkara Kannan' were two very different subjects presented back to back. A good thing to do as it offers the dancer wide scope to emote even as it provides the audience with varied fare. The concluding Thodi tillana composed in Adi talam, a composition of Maharajapuram Santhanam, was the most disappointing. The dancer was tired and the tune was heavy, so neither impressed. Girija Ramaswamy provided good melody with the help of Sikhamani, violin. Dhananjayan, mridangam, was involved and played to maximise the co-ordination between the orchestra and the dancer.