Both artists started with invocations to Lord Ganesha. The next was a slokha by Sankaracharya 'Shive Shringaradhara'. The navarasas were depicted through Parvathi, as in her relationships with Shiva, other men, her friends, Ganga etc. The nuances are so understated in kathak that it is easy to miss them altogether.

The khandita nayika was taken up next. Smt.Kalanidhi Narayanan performed 'Indendu Vachitivira' in Suruti, a composition of Melatur Kasinathayya. "Why have you come here? That woman's house is not on this street. How could you loose your way in this bright moon light?" rants the nayika. Smt.Kalanidhi is at her best in these situations of sarcasm, anger, jealousy and the underlying feelings of hurt and sadness. The hasya bhava when the nayika says, "You who has lifted Mount Govardhan succumbs so easily to that woman's wiles," too came through very well. Smt. Rohini Bhate built up the situationn thus: The nayika is first a vasakasajjika nayika - one who is preparing for her beloved's visit... several hours later, when even all the flowers have withered, he shows up at her doorstep. She says 'Jhooti batiyan karat mein na maanoongi... southen ke ghar se... palat aaaye" i.e. I will not accept your lies.... I know you have come from that woman's house. The dignity of the nayika's anger with just a flick of a finger dismissing the nayaka was uplifting to watch.

"Unnai thoothu annipinanae" in Saveri, a composition of Ganam Krishna Iyer, was taken up by Smt. Kalanidhi. The dancer portrays the confusion and pain of the nayika at the betrayal of her own friend with Lord Guha. The Vartamanagupta nayika (one who is unfaithful) was portrayed by Smt.Bhate in poet Vidyapathi's 'Saroopa niroopaha dose' set to raag desh. The nayika tries to cover her guilt while explaining her dihevelled state when she returns home. She gives seemingly innocent explanations for her late return, for the red mark on her face, for her torn clothes, for her being out of breath. Smt.Bhate performed this in a seated posture on stage. Nevertheless, the portrayal was very vivid and entertaining.

A mugdha nayika is one who is young and innocent. Smt.Kalanidhi demonstrated a situation where the nayika has just spent the night with Krishna and is unwilling to go back again to him. The delicacy of expression and the art of communication without so much as a movement of the eyes made this probably one of the highest moments of the evening. The padam set to Mohanam is a composition of Sarangapani.

Smt.Bhate's Mugadha nayika was a shy, young, newly wed girl not quite ready to caste her inhibitations away. The song was in the form of samasyapoorthi, a sort of challenge between poets in the court of King Bhoj.

The sorrowing virahatkhandita nayika was depicted by Smt. Kalanidhi in the kshetrayya padam 'Ayyayo Vegatayana' in Nadanamakriya. Her lament is that Muvva Gopala, who was once so loving, cannot seem to bear even seeing her now. Smt. Bhate's nayika was sorrowing over her life without Krishna. Comparing her gloomy mood to the darkened skies, the nayika, so beautiful..... and so alone, says 'nahi aayee ghanshyam'. Suddenly the clouds part and rain pours down: 'Aayi Savan  Ki bahar' and with it comes hope. She is filled with excitment and awaits her beloved. Alas, the mood shifts back again to shoka.

The experience of watching both these septuagenarians on stage in one evening was something very special - a rare treat for a dance connoisseur. The music added to the presentation and elevated it to a sublime state. Smt. Vanathi Raghuraman and Smt.Madurai Joshi as vocalists gave excellent support to Smt.Kalanidhi & Smt.Rohini Bhate.