Her opening number was a Mallari in Gambhira Nattai Ragam, followed by a Misra Alarippu. 'Sarasijakshulu' , asabdam by the Tanjore Quartet, in ragamalika, and set to Adi talam was next. Menaka briefly touched upon Krishna's youthful pranks. This was demonstrated with dignity.

A bhakti- laden varnam, 'Gokula Bala Gopika Lola' in ragam Kalyani and talam, Adi was again centred on Krishna. Composed by Raji Narayanan, the well choreographed varnam was absorbing but some of it's appeal was lost coming so soon after a similar sabdam. The effect of the varnam being the 'pièce de resistance' of a dance programme should not be diluted at any cost. Menaka was graceful and energetic till the end . Her footwork and her araimandi can be improved upon. The sancharis were on Krishna's miracles: with Sudhama, with Poothana, protecting his devotees by carrying the Govardhana Mountain, saving the honour of Draupadi... Each one was depicted clearly without any over reaction on her part.

The dancer was complemented by a supportive orchestra: Smt. Shobhana Balachander conducting the recital, Smt.Jyothismathi, vocalist, Sri S.S.R.Krishnan on the mridangam, and Sri Kalaiarasan on the violin.

A khandita nayika was portrayed in 'Yahi Madha Yahi Keshava'. This was sung in Mohanam ragam. This ashtapadi of Jayadeva is very intense in it's pain and anger towards Krishna who has betrayed the nayika. The interpretation of such a piece requires more experience from the dancer. 'Enthane Varninthune' , a short javali, in Kedaram ragam and Rupaka talam was performed by Menaka. Her concluding item was a thillana Hindolam ragam, composed by Parthanam Subramanium. She was able to sustain a high level of concentration and energy through the programme. A promising dancer with a bright future ahead of her.