The margam format is ideally suited for young dancers to showcase their talent, as they embark on an exciting journey. Shreya Murthy, a disciple of Priyadarsini Govind, chose to present select compositions from the repertoire for her performance for Brahma Gana Sabha.
Shreya began with a Mallari in celebration of Nataraja, preceded by verses from Tirutandakam by Tirunavukarasar in Gambhiranattai. The description of familiar imageries associated with Shiva, such as the drinking of poison and the snake coiled around his neck were depicted in an interesting manner. A little more attention to detailing would have enhanced the appeal.
The varnam ‘Swamiyai azhaithodi vaadi’, a composition of Dandayudhapani Pillai in ragamalika, has the heroine speaking to her confidante to go and fetch her lord. Shreya’s ability to communicate ideas with clarity was seen in certain sequences — describing how the moon, which was once her companion with its coolness, now torments her like a ball of fire; memories of the romantic moments spent with him, the portrayal of Ardhanariswarar and the transition of a fearful venomous snake to a tame one that adorns the neck of Shiva.
Shreya Murthy
The dancer’s fine footwork was evident throughout, but the overall choreography needed some refinement. Constant jumps and running across the stage brought in monotony. Coming to the edge of the stage at the conclusion of each jathikorvai not only puts the dancer out of the line of lighting, but also diverts attention from the movement.
In the padam ‘Choodare’ in raga Sahana, Shreya revelled in her delineation of a nayika on her way to meet Krishna. She is taunted and teased by jealous women commenting on her as ‘that woman’ who entices her nayaka. ‘I go near her to feel the softness of her silks, she knocks off my hand, and walks away tossing her plaited braid with a touch of arrogance. Don’t I know how she came into these riches and big house?’ say the women. These sancharis, Shreya’s stances and body language and the manner in which she portrayed the different characters were impressive.
Orchestral support was by K.P. Rakesh on the nattuvangam, Murali Sangeeth on vocals, S. Vijayaraghavan on the mridangam and N. Sikamani on the violin.
