Lanky Navtej Singh Johar from Delhi is ex-Kalakshetra, a dancer with hidden depths and an intensity that can do wonders with continued guidance and training. He has a supple body, good control over laya, and an excellent foundation of footwork to build on. Unfortunately behind all this talent, one can discern a sense of indifference or even lethargy. Even his expressive heavy-lidded eyes that can emote so eloquently would have been a lot more effective with better groundwork and presentation.

He is an artist who is at home with the traditional as well as the contemporary medium in which he has done some experimental work. He brings a quiet dignity to whatever he does; his dress too that evening reflected this sense of aesthetics, with minimal adornment, almost shorn of any make up.

In Johar’s bhakthi-sringara dominated ‘Margam’ presentation, he went back to basics with the long forgotten Tisra Alarippu. His ‘azutham’ or strong footwork is a plus point, but there is room for improvement in his araimandi stance and in his tendency to skip beats in the faster paced sequences. Neewin Hershall conducted the recital with confidence; Radha Badri’s wonderful music matched Johar’s intensity, though support by M.R.Ganesh Iyer on the mridangam and flute by T.R.Murthy was just satisfactory.

The dancer’s considerable emotive skills came to light in the exchange of tender looks between Rama and Sita in the Hamsanandi kriti by Uthukaddu Venkatasubbaier. His devotion for ‘Rangayya’ in the Nattakurunji ragam, Adi talam, varnam ‘Chalamela’ by Moolaiveetu Rangaswami Nattuvanar, was another involved depiction.

It is in the Anandabhairavi padam, ‘Manchi dinamo’ attributed to Kshetrayya, that there arose some confusion. The woman portrayed in the lyrics is a confident heroine, accepting of his dalliance with other women, who says, ’When he comes, let him walk in right royally. There is none other for me.’ Johar’s interpretation depicted a woman lost in sorrow, pining for her beloved- a powerful portrayal on its own, except for its inaccuracy. ‘Bhavayami’ showed the dancer in a different light, where he delicately delineated a mother’s love laced with devotion.

Johar’s finale was a Natabhairavi thillana in Adi talam by Veena Krishnamacharya that retained his geometrically structured style. Here is a gifted dancer who only requires a concentrated focus to realise his talent in full.