In his production for Bharat Kalachar, one observed a dynamic thought process behind his new productions, though his substantial talent could do with some refinement. There was an element of inconsistency in his brilliance that was probably due to inexperience rather than aptitude. His work has its foundation in Bharatanatyam and seeks to extend its structure while borrowing aspects from theatre.

He has an excellent dance technique that sets him apart as a performer. His 45-minute solo, Dashavatharam, was a brilliant improvised presentation without sahitya, to the accompaniment of the percussionist Keshavan on the mridangam, chandai and ganjira. The graphically detailed avataras were presented in vishamayathi that is un-patterned tala, the imagery heightened by an amazingly flexible body that could contort itself into any form. The dancer wore no bells and in the ensuing silence grew a quiet, meditative quality that was far more effective than any words may have been. Unfortunately, one was jolted out of this pleasant reverie by the avoidable ear-splitting screaming on the mike in the Hiranyakashyapu killing and in the Poothana episode.

The varnam ‘Roopamuguchi’ in Todi, was presented with a new format that retained the text without interruption by theermanams, the nritta having been woven onto the fabric of the telugu composition. A prelude projected the Natyasashtra as the fifth veda, and detailed the parallel connection between Pathanjali’s Yogasashtra and Bharata’s Natyasashtra, through the principles of yamaneeyama-self discipline, dharana-single point concentration, and dhyanam-meditation. The sancharis of the varnam included a navarasa component that fitted in well but the exaggerated manner of O.S.Arun’s music left a bad taste. The pop version of the Lingashtakam by Rajesh Vaidya was another aberration in an otherwise well co-ordinated group piece, well researched and choreographed.

Contrasting the choreographic excellence of the two magnum opuses was an unimaginative film-style duet ‘Shyaam ko murali ek bhajao’ with Narendra Kumar and Anusha Natarajan as Krishna and Radha in the Meera bhajan, the only redeeming feature being Natarajan’s dignified portrayal.

The Kalinga Narthana thillana by Oothukadu Venkatasubbaier in Gambhira Nattai ragam, Adi talam, is undoubtedly this talented young man’s most acclaimed choreography, where he has introduced a folk theme laced with humour, inspired by Krishna’s light-hearted raas-leela. Though this lively finale never fails to impress, there is a danger of overexposure that can lead to staleness. Surely Narendra Kumar can come up with something new...