Meenakshi commenced with an invocation in Ramapriya ragam, Rupaka talam, 'Sri Rajarajeshwari Manohari'. Her main item of the evening was an unusual ashta-ragamalika-varnam by the Tanjore Quartet. The sakhi who is the main character, addresses Shiva, and tells him about the lovelorn girl who is waiting for him. The sahitya of each line which was in a different ragam, contained the name of the ragam. The ragams were: Sankarabarnam, Kambodhi, Neelambari, Bhairavi, Thodi, Suruti, Ahiri, and Birbas. The jathi korvais were crisp, and well choreographed. Each one was taxing on the dancer, but she rose to the challenge and did a competent job. Pandanallur Pandian weilding the cymbals was as competent as always. Vocal support by Kutralam Nagarajan was also good. The others on the orchestra were: Shaktivel on the mridangam, Sikhamani, on the violin, and Srinivasan on the flute. A very good combined effort by them.

The abhinaya part of the recital began with a padam in Atana, 'Arivein ayyah'. An angry and dejected nayika says, 'We are inseparable like milk and water. Yet you go to this other woman..... your kind words you use there, and your scorn here...your wealth there and your accounts here...Enough is enough.' Her sarcastic depiction of the nayaka pleasing the other woman was entertaining. 'Yethanai sonallum' in Saveri ragam was next. The song described a mother advising her daughter against behaving willfully with her husband, lest she spoil her marriage. Meenakshi was her most effective in 'Jagadodharana'. This padam is in ragam Kapi, where the poet Purandaradasa, wonders at how the protector of the universe, Krishna, is treated as a mere child by Yashoda, who does not realise his true identity.

The recital concluded with a thillana in Kalyani ragam, a composition of Balamurali Krishna. Crisp choreography marked the item except for a kathak-like interlude, which did not seem to fit in. This was followed by Mangalam Pradambulichu by the Tanjore Quartet in ragam, Madhayamavathi.