FRIDAY REVIEW

Marked by grace and skill

Sridharini Sridharan.

Sridharini Sridharan.  

REVATHI RAMACHANDRAN of Kala Sadhanalaya can be proud of producing bright skilful dancers who are sincere and dedicated. It was heart-warming to see young Sridharini Sridharan, yet another talented dancer emerging from this school, with striking potential to go places. Under the auspices of Kartik Fine Arts, Sridharini proved through her recital presented at the Narada Gana Sabha Mini Hall, her deep involvement and rigorous training under Revathi Ramachandran.

Sridharini has a very impressive, majestic stage presence that blossomed into a very appealing performance. She exhibited good command over the nritta intricacies; equal or even more powerful was her display of her skill in abhinaya. Sridharini seems to have a natural flair for the interpretative aspect of dance and her performance was marked by grace and beauty in movements. Although there was a limited variety of delineations of the lyric, especially in the varnam ("Samiyai Azhaithu" of K. N. Dandayudhapani Pillai), Sridharini's understanding of the nuances came out beautifully. Her expressive eyes and mobile face could capture the details of the love-lorn nayika awaiting the Lord-beloved so aptly. There was clarity of thought put to an unbroken chain of the emotive aspect throughout this number, adding dignity to her portrayal of the main idea. It is rare to see young artistes in the present scene, such as this dancer, who can dwell on the sthayi firmly. Sridharini revealed to be a fine blend of devotion, hard work and serious commitment. Revathi could have guided her through further exploration into the realms of abhinaya, by giving her wider choice of ideas to develop the lyrical content. Little more attention to the basic posture and firmer endings of the rhythmical phrases would help Sridharini make big strides.

Earlier after the opening number, Sridharini's presentation of the kriti, "Sri Ganapatini" was all right, although such numbers are just descriptive without much scope for dance elaboration and produce the ambience of a vocal cutcheri.

Shashidharan was the main singer, accompanied ably by Kesavan (mridangam) and Kalaiarasan (violin). Revathi conducted the recital with good grip. The audio in the mini hall of Narada Gana Sabha requires attention and it is time dancers and the authorities came to an understanding about video-recording in this space. The chaos and congestion deprive the audience of uninterrupted viewing of the dance, a regular feature at this venue.

NANDINI RAMANI

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