T . Reddi Lakshmi, a former disciple of Seetha Nagajyoti and a senior disciple of Gurus Jayarama Rao and Vanashree Rao, is a promising Kuchipudi dancer. She is bright and confident and unusually sophisticated for a traditionally exuberant theatrical form. It is not a bad thing as it did not curtail the joie de vivre in the dance, it was just different. The gurus’ enjoyable choreographies kept the energy on a high even as they covered every nuance of the solo Kuchipudi repertoire in 75 minutes at The Music Acadmy. The programme felt like a wholesome meal with everyone’s favourites.
The Annamacharya kriti in Hamsadwani, (‘Vandeham jagatvallabham,’ Khanda chapu) was presented with brisk nritta and allusions to Venkateswara’s avatars alternating efficiently in a colourful tapestry. Lakshmi’s steps were meticulous and well-finished, as was the final frieze of Padmavathi and Venkateswara that was particularly noteworthy.
A portion of the most popular dance drama Bhama Kalapam was presented. The dance drama opens with the pravesha daruvu, ‘Bhamane, Satya Bhamane’ in which Satyabhama proudly introduces herself. But the excerpt was from the second act, when Satyabhama requests Madhavi, her friend, to bring Krishna to her. Madhavi teasingly asks her to identify her love-interest and that sets off comic reactions such as, ‘Oh he has a chakra in his hand, then he must be from the potter’s community!’ When asked his name, Sathyabhama answers shyly in a ragamalika daruvu, ‘Siggaaya oyamma.’
The last part is the bribe that Madhavi demands for performing the errand. Sathyabhama promises to give her friend anything she wants, but when Madhavi asks for her nose ring, Sathabhama finds many excuses not to give it to her. Finally Sathyabhama grudgingly relents.
What may have taken hours was performed as an abridged 15-minute version, and was yet delightful. The masterly nattuvanar Jayarama Rao became a teasing Madhavi with masterful ease.
After a Meera bhajan, ‘Mein sawre ke rang rachi’ and a javali, ‘Muttavaddura’ performed with understanding, Lakshmi concluded with an unusual Narayana Tirtha Tarangam on Siva.
The footwork on the brass plate was however not as impressive as the rest of the performance was.
The supportive orchestra consisted of: K. Venkateshwaran (vocal), R. Sriganesh (mridangam). K.P. Nandini (violin) and Sruti Sagar (flute).
The instrumentalists shared the air time equally, spawning off each other’s creativity to produce a base layer of beautiful melody.
