It was really a simple theory about man and woman, their first meeting, their time together until the growth of their separate identities when they diverge, and of a final coming together in a freedom without gender distinction. More than the theme, the treatment caught the viewer’s attention. The latter was an interesting paradox- while one expected exploratory movements and new age music, one was pleasantly surprised to find the application of the traditional vocabulary of dance; more unexpected was the use of the traditional repertoire- the Bharatanatyam margam- in the presentation. The adaptability of the margam is remarkable; the skill lies in its representation, and the artists did well to meticulously script the narration that accompanied the Alarippu- Varnam- Padam- Thillana format.

The choreographers also displayed a keen sense of drama that highlighted crucial moments with minimal fanfare, using the eloquence of silence, space and darkness. As in the introductory piece, man and woman were presented against the stillness of darkened corners, performing in silence using linear movements that conveyed very simply the beginning of creation. The awareness between man and woman thereafter grows with a tentative mirroring of the other’s steps in semi darkness, until they make a beginning with the tisra Alarippu together. Another instance was the intensity of the ashtapadi, ‘Kuru yadhunandana,’ that was effortlessly conveyed with T.V.Ramaprasadh’s sublime Misra Kapi rendering in the silence of the Bharatiya Vidya Bhavan auditorium without any accompaniment.

The multi- media production commenced with a short film of the dancers emoting individually to the padams, ‘Varugalamo Aiyya’ and ‘Mogudoochi Pilechedu.’ While the film taken in sepia tones was aesthetic, its relevance to the theme was ambiguous without the benefit of a clear introduction. The nritta- dominated ‘journey’ included the Nattukurunji varnam on Nataraja, ‘Sami naan undan adimai,’ that shone with tightly woven theermanams, exacting enough to tire the fittest, even as it illustrated the concept of Ardhanareeshwara succinctly, but the two padams ‘Bo Shambo’ and ‘Kuru Yadhunandana’ depicting their inner journeying were not as effective. One was too vigorous to be reflective, and the other too sensual, where the physicality of love just did not seem enough.

The strength of ‘Crossroads’ lies in its ability to break away from the stereotypical, even as the available vocabulary is refurbished with subtle pointers to illuminate the way. The production delighted in pushing the barriers, as if to test the waters, as they did in the thillana. Bharatanatyam in T-shirts and pants certainly appeared incongruous, in spite of the energy generated in the free movements of a gender neutral state. But how this happy ending is arrived at to complete the circle is anybody’s guess.

Setting aside the trivia, overall it was a well conceived team effort, with good choreography and good music as the high points. The marked absence of glamour, the sincere effort of the dancers and their deceiving spontaneity enveloped the performance with a rare informality. The subtle innovations in presentation made a qualitative contribution to the theme, the irony being that one cannot appreciate the innovation unless one is familiar with the tradition!