Mahita performed a Pushpanjali in Hamsadhwani ragam, Adi talam, by Purandaradasa. This was followed by a Thodayamangalam in ragamalika, also by the same composer. A jatiswaram in Khamas ragam, Adi talam, kept up the tempo of her nritta-based items. Suprisingly, she performed a kriti, 'Ananda Natamaduvar Tillai' in Poorvikalyani ragam, Rupaka talam, next. Characterized by the description of Nataraja's form, and his cosmic dance, the item was unexpected, after the fairly taxing earlier ones. But Mahita acquitted herself well. Her posture is worth emulating, but her nritta could do with some firming up; improving the 'azhittum', or the force of her footwork, might do the trick. The dancer chose a Tanjore Quartet varnam in ragamalika, Rupaka talam, 'Sami ninne korina', on Brihadeeswara. A virahotkhanthita nayika, beseeches her Lord to take notice of her and marry her. Calm, dignified nritta, along with short abhinaya passages marked the varnam. Mahita's seven jathis were well choreographed, and well executed. The 'Neelakanta' episode was depicted, the only sanchari elaborated. It was an exhausting first half, strenuous enough to tire anyone, but the most determined.

The vocalist, K.S.Vasudha, deserves to be mentioned for her melodiousness, and her flawless enunciation. There was professionalism at it's best on stage, all of them complementing each other, to form a cohesive unit. The others in the orchestral team were: Chiranjeev, nattuvangam assistant, H.Damodar Bhat, mridangam, R.Somanna, violin, and flute, H.S.Venugopal. Subbaramaiyer's 'Aduvum soluvaal' in Saurashtra ragam, was next. Mahita has an expressive face, but must learn to hold her expressions. They flit through the landscape of her face, without giving any time to the viewer to assimilate them. 'Thanai vida bhagyashali...' was well emoted, while quoting her lover's new found love with the right feelings of sarcasm, and hurt. She has all the right instincts but must be guided to give off her best. Mahita went on to another padam, one of Purandaradasa's, in ragamalika. 'Aada hoddale makkalu noodamma', wherein the child Krishna, complains to his mother that everybody teases him when he goes out to play. The different instances of others making fun of Krishna was vividly described. Woven into this, were sancharis on episodes in the life of Krishna: of Krishna being taken from Devaki, and carried away to safety; of Krishna being fed poisonous milk by Poothana; and the Kalinga episode. The flautist excelled himself and the dancer did full justice to the emotive aspects.

Mahita concluded with a thillana by Lalgudi Jayaraman in ragam, Maund, and talam, Adi. This dancer has proved herself sincere, and hardworking, with abundant talent to build her foundation on. With time, she is sure to be a dancer to reckon with.