Using sahitya from the Upanishads, 'Om asato ma sat gamaya', the two dancers commenced with an invocation. Composed and sung by Madhavi's brother, Madhup Mudgal, the respective stances of the two styles were discernable. 'Sankarasrigiri', a composition of Swati Tirunal, was next. This was performed by Leela in the Bharatanatyam style. Set in ragams, Kambodhi and Hamsanandhi, Adi talam, the item combined the Shiva Tandava, and the third eye episode when Manmadha is punished for disturbing his penance. Leela's nritta included some striking poses of Shiva.

Together the dancers performed an ashtapadhi from the 12th century text, 'Geet Govind' by Jayadeva. 'Dheer rang samerai' was in raag Yaman. The sakhi tells Radha 'Krishna is sitting on the banks of the river Yamuna, playing the flute, and waiting for you. Remove your anklets and go to him now'. Madhavi was the sakhi, and Leela played the role of Krishna and Radha alternately. They had choreographed the piece so that they were emoting only one at a time, and never to each other. When one was centrestage the other remained in the shadows at the back, frozen in her role. The concept created some confusion at first, but it became clear enough as the item progressed . Madhavi performed a pure dance Pallavi in Mish Natt raag and Tisra Triputa taal. It was traditional Odissi nritta, performed elegantly. 'Chelisinetlu', a javali in Parasu ragam, Adi talam was performed by both dancers. The freshness of the choreography made all the difference. While Madhavi is dressing up and waiting for her nayaka, Leela as nayaka is seen entering another woman's house. Both of them then emote side by side, one at a time or, simultaneously, depicting the despair of the nayika, who can bear no more the fickleness of the nayaka.

There were two orchestras that evening. Oriyan and North Indian music was by: Manikuntala Bhowmik, vocal, Gandhimalik, pakhwaj, Sunilkant Saxena, sitar, Kiran Kumar, flute, Shambunath Bhattacharya, manjira and tabla, Sonali Bose, tanpura. The Carnatic musicians were: Shobana Swamy, nattuvangam, Hariprasad, vocal, Vijayaraghavan, mridangam, Sikhamani, violin. Totally unexpectedly, both dancers together performed a tumri, Kathak style. Set in Marwa raag and in teen taal, 'Mohe Chedona' was the pick of the evening. The dancers were both gopis, begging Krishna to let go of them. They moved in a big circle to the beat, emoting at the same time. It was a jaunty tune, with a theme that was light and fun. Both gopis then get together and tease him. When Krishna gets upset, the gopis relent and embrace him from either side.

Madhavi and Leela concluded with a tillana in Poorvi ragam, Rupaka talam, a composition of Thirukokarnam Vaidyanatha Bhagavathar. They entered hidden by an odini. For the first two theermanams, only the footwork was visible. And each in their own style. Individually they performed theermanams too. 'Re, Re, Re, Re,Ge, Ma, Ge, Re, Sa' went the haunting melody. This show was a wonderful opportunity to showcase both Odissi and Bharatnatyam together, without compromising either of the styles.