The production is a culmination of two years of research and preparation between Professor William Skelton and senior dancer Professor Sudharani Raghupathy. ‘The Anklet Story’ that dates back to the 8th century, is considered to be Tamil literature from the post Sangam period, a treatise by the Cheran Prince Ilango Adigal from Kerala. Some original verses have been used in the evocative musical score, written by noted musician and composer Vidwan Madurai N. Krishnan.

‘Silappadikaram’ premiered to an appreciative full house at Narada Gana Sabha, under the auspices of the Karthik Fine Arts in Chennai. The story is about Kannagi, the faithful wife of Kovalan who through her virtuous nature was able to avenge the injustice of her husband’s execution by burning the city of Madurai. A powerful story that convey many morals, chiefly that, ‘what you sow, you reap.’

It is the attention to detail that always makes a big difference, like the batik backdrop picturing the town of Poompuhar that came out of a workshop anchored by J.Jagaraj, and the aesthetic costumes of the dancing girls in the now familiar white and colour combinations.

Among the many positives, the spirit of participation was the most inspiring. The merit of such a production lies more in its successful co-ordination and staging, than in its obvious technical expertise. The sensitivity of the choreography was perhaps the most endearing feature of the entire endeavor- it allowed for the active participation of the amateurs within the conventional framework of music, dance and design, while explaining the flow with the help of English commentary and symbolic gestures like the cutouts of the elements of nature in the introduction, and the gigantic mangalsutra in the marriage scene.

The movement choreography pulsated with life, and imagination flowered within the swara patterns, while K.S.R.Anirudha’s jathis consolidated the narrative with authority. Particularly enjoyable were the marriage and the ‘Indiravizha’ scenes where the musicians of the study group came on stage in Indian clothes playing Anandabhairavi and Begada ragams with their instruments. The wedding celebration’s the group dance was well rehearsed in their presentation of the mangalsutra and unexpected changes in rhythm handled effortlessly. Another group number that dazzled was the one performed in Kavunthi’s hermitage, where the traditional ‘Koravai’ dance and the ‘Kummi’ were incorporated in a wonderfully harmonious five-raga composition.

The melodrama that this story usually triggers was fortunately kept to a minimum. Priya Murle as the mature Kannagi handled her role with dignity; Guru Raghupathy’s Kavunthi was necessarily austere, while Nathan Smiley and Aruna Subbiah as kattiyakarans or narrators always kept their objectivity. Vijay Palaparty as Kovalan was a good selection, and T.M.Sridevi as the beautiful temptress Madhavi, was vivacious.

A heartbroken Kannagi cries in anguish on hearing of her husband’s death. She runs to the king for justice, where she breaks the anklet to prove her husband’s innocence. Yet she finds no comfort in the king’s repentance, and confronts Agni, the God of fire. She decides ‘Who shall be spared?’ in the fire that engulfs the whole city of Madurai, and joins Kovalan in Heaven. This extremely emotional finale came across with minimal effects; therein laid the beauty in simplicity.

The minimal orchestra made a big impact with Sripriya Kamakshidasan as vocalist, N.Sashirekha on the nattuvangam, Anirudha on the mridangam and other percussion instruments, and Vijayaraghavan on the violin. There was never a dull moment in the production, but one felt it could have been more concise.