The mainstay that evening was the Karaharapriya varnam in Adi talam, penned and composed by S.Rajeshwari for the occasion. While delineating the depths of ‘vatsalya bhava’ or mother’s love for her child, the dancer tackled her demanding theermanams with stamina and energy. With good support from Adit Narayanan on the nattuvangam, Sailaja’s footwork and timing were commendable. And beyond the nitty-gritty of technicalities, she shone with a maturity that could have come only thorough rigorous training and single-minded effort. Her sincerity was the essence of her offering to her mother. The varnam was a moving personal homage to someone whose caring and tenderness were encapsulated in the piece, with the simple imagery of instances in her upbringing that explained the ‘sahitya’ or lyrics.

The vocalist, Hariprasad gave a rather subdued rendering that was nevertheless mellifluous. Muruganandam on the violin and Sankaranarayanan on the flute supplemented the melody, while Haribabu on the mridangam provided able percussive support.

After the lively varnam where the dancer was in control throughout, the Begada padam ‘Yennilum ival yenna flagiyamo’ by Subbaramaiyah presented another facet of expertise that could do with some reflection. Though the expressions were appropriate for an angry nayika demanding answers from her nayika about the attractiveness of another, the gesticulation and the movement on stage could be made less obvious and consequently more effective.

A devotional Purandaradasa bhajan in ragamalika, ‘Rama mantra japiso’ followed by a thillana in Hindolam ragam, Adi talam by Dhandayudapani Pillai, comprised the rest of the programme, that remained a heart-felt homage from start to finish.