Mohiniattam has an inherent ‘lasya’-laden style that requires a slow, meditative manner of execution. The grace and fluidity of movement that this facilitates is a refreshing change from the speed and linear geometry of Bharatanatyam.

Disappointingly, the programme did not contain enough nritta, which was restricted to the first and the last items. But what came in between was not ineffective. The dancer and the musicians blended together effortlessly with a tranquillity that prevailed in all facets of the performance. The dance was allowed to communicate for itself, without any distractions from the orchestra or from the dancer projecting herself out of turn. Having said this, it must be mentioned that the introductions from the wings were unclear on many occasions.

Shiv Tandav performed in the Mohiniattam style was a new experience. As Prasad explained later, “Tandav is pure dance. It’s only the roudra tandavam that has the masculine element in it and hence does not find place in Mohiniattam.” Having completed a doctorate with the thesis on ‘Lasya and Tandava in Classical Dances of South India’ she should know best! The ‘Mahadeva Shiva Sambho’ composition by Thanjavur Shankar Iyer in Revathi ragam contained the legends of Markhandeya and Ganga that were performed with composure and confidence.

Kalidasa’s heroine Shakuntala was given a more assertive role in Prasad’s interpretation. Using some of the original lyrics and some specially written for the newly transformed Shakuntala, and set in ragamalika and talamalika, the item composed by the vocalist Madhavan Namboodri struck a poignant note. The romantic setting in the letter writing scene highlighted the famous line ‘Nadha na jane tava hridayam’ and created one of the best moments of the evening where the lighting, the dreamy languor of the dancer felt just right. Todi soared to create a sublime, evocative ambience for the devotional Swathi Tirunal krithi, describing the procession of Lord Padmanabha Swamy. Prasad was intense, but the music was divine.

Variety is what kept ennui at bay in a programme made up of only abhinaya items. Sringara was portrayed through Jayadeva’s asthapadis with the eternal lovers Krishna and Radha brought together by the ubiquitous sakhi.

An Amritavarshini thillana in Adi talam composed by the vocalist was beautifully picturised by Prasad; every nuance in the music was reflected in the swaying movements of her body, right up to her fingers. A spectacular experience supported by the wonderful orchestra: violin, V.K.Haridas, veena, Soundarajan, edakka Krishna kumar, mridangam, Vipin Satish, mridangam, Unnikrishnan.