While examining the nitty-gritty of Praveen Kumar’s dance style, one feels the dancer would do well to incorporate more geometry into his movements. His ‘araimandi’ stance during the pure dance sequences is another area where improvement is possible. But these observations should not detract from the excellent footwork and kaala-pramanam exhibited throughout the recital. Adavu execution was precise, including the series of ‘mandi adavus’ that featured in a theermanam of the Shanmukhapriya ragam varnam. The bhakthi-laden composition of Madurai N.Krishnan, featured anecdotes from Muruga’s life that were portrayed with involvement and conviction. Especially notable was the somewhat humorous account of Muruga’s winning over of Valli, handled uniquely from Muruga’s perspective. The vocalist D.S.Srivatsa’s tenuous hold on ‘sruthi’ was the only dissonance in the piece.

The intelligent choice of items- predominantly representing ‘nayaka’ bhava, also bore testimony to Praveen Kumar’s prudence in concentrating on his strengths. The line a male dancer has to tread, between being graceful but not too much, being severe yet not too stark, is enough of a challenge. In this regard, he is fortunate to have as mentor, the very epitome of dignity, Professor Chandrasekhar.

Krishna is disturbed by a nayika’s indifference in the padam ‘Thithika vaisithe’ by Sarangapani in Kalyani ragam. Praveen Kumar made a sensitive sketch of Krishna’s impatience at being taken so lightly by the nayika. A virahot khandita nayaka, separated from his wife and regretting his insensitivity towards her during their parting, was well portrayed in a poem in Kannada by K.S.Narayanaswamy. Guru Smt.Kalanidhi Narayanan and dancer Indira Kadambi can take the credit for the abhinaya pieces respectively.

Besides the vocalist whose resonant voice was a let down during the varnam, the rest of the orchestra were proficient. They were: Prasanna Kumar on the nattuvangam, S.V.Balakrishna on the mridangam, and Mahesh Swamy on the flute. Praveen Kumar concluded the programme with a rigorous thillana in Vallachi ragam, Adi talam by Dwaraki Krishnaswamy.