'Prahaladha Charithram', another traditional item, in raagamalika and taalamalika, dealt with the Narasimha-avataar of Vishnu. The story of Hiranyakashyapu, the asura, and his penance, the granting of a boon that would render him just short of immortal. He has a son, Prahaladha, who is a devotee of Vishnu. The arrogance and destructiveness of Hiranyakashyapu, leads to his death. Vishnu himself comes as half man-half animal, and kills him in twilight, ie. neither day or night, on the threshold of his house, which is neither in or out, and with his claws, without any weapons, and on his lap, not down on the ground nor up in the sky. The killing scene was spine chilling, though quite gory in itself. The narrative aspect of the piece was crisp and effective.

Vasanthalakshmi presented a padam 'Vadaraka pove' in Khamboji ragam by Kshetrayya. This composition was said to have been left incomplete for three months, to challenge anyone in the Tanjore Court to complete it. It was finally completed by the author himself. The poet depicts a virahotkhandita nayika, dejected after the nayaka has not returned to her. Losing her beauty and her interest in life, she says, 'Even if he returns I do not want him to see me in this state. Better he remembers me as I was, not as I am now.' The singing was by Narasimhachari. Both of them performed a Tarangam, in ragamalika and talamalika, a composition of Narayanateertha. They danced balanced on brass plates, probably the most popular feature of a Kuchipudi recital. The build up of pace was very good. The mangalam was in Madhyamavathi ragam, Misrachapu talam.

An impressive programme in itself, the creative aspect of which was somewhat restricted by the two artists miming to each other in the abhinaya portions. Frequent entry and exits during the Shiva-Leela, when they took turns to depict Shiva's acts of compassion was also distracting.