Dance Disciple of Urmila Satyanarayanan, Anvesha Das handled the abhinaya, movements and speed with ease. Vidya Saranyan

A vibrant stage presence, angasudha and competency in abhinaya were the highlights of Anvesha Das's performance. This talented dancer from the U.S. is a disciple of Urmila Satyanarayanan. Her dance at the Petachi Auditorium came packaged with the traits of a perfect technique and boosted by a happy smile.

Brisk and confident

Anvesha established her credentials with the invocatory number, where brisk calculations elevated the recital. Anvesha's entry and the subsequent mallari in Gambheeranaatai evoked the majesty of the nagaswaram amidst the temple milieu. The dancer's confidence enabled her to tackle the differing speeds that graduated from one tempo to another with ease.

With Swamimalai Suresh handling the ragas with his customary ease, Dhananjayan securing the tala with his expert mridangam play and Selvam chipping in with unassuming nattuvangam, the dancer was assured of steady orchestral support.

The dancer's approach to the Navarasa ragamalika varnam of Lalgudi Jayaraman was based on the varying rasas such as love, disgust and anger. Each stanza focused on a particular emotion and this was delineated by the dancer with alacrity. One of the impressive depictions by Anvesha was her portrayal of driving the chariot in the war. Correspondingly, her gritty performance of the sarukkal adavus, without blurring the lines, were positive points.

While she invested equal energy in all sections of natyam, the upshot would have gained greater intensity had there been more attention paid to detail in her performance. An instance: ‘Ilanagai' that can be loosely translated as a little smile was depicted as a beaming, sunny smile in all the repetitions of the line. The underlying rationale of the ‘tender smile' in the story of Meenakshi's encounter with Lord Siva is her transformation from a warrior princess to a shy woman in the first flush of love, and it is the clasp of such subtleties that lifts the plane of a dancer's artistry several notches.

‘Ye Ra Rara,' the lively Khamas Javeli, saw Anvesha invest a nayika with strong feelings for Lord Vishnu. A tasteful depiction, this lyric had imaginative variations stapled in for the lines ‘Maara Janaka.' Polished moves that integrated interesting combinations of beats for the Thillana in Kaanada gave the performance a sparkling feel.