An invocation to Krishna at the beginning, described his charms, and his qualities as a warrior and was performed by Rani herself. The Jugalbandhi that followed stood out for it's absence of lyrics. The roles of Radha and Krishna were played to the accompaniment of the sitar, and the rhythm of the dancers' 'ghungroos'. Set to teen taal, in raag Chandrakauns, mime and music formed the means of communication. This was presented by Deboshree Banerjee and Vikram Iyengar. Mastery over taal is of prime importance in Kathak. The next item, set to taal dhamar, the fourteen beat taal, in madhyalaya, highlighted the importance of nritta in the kathak repertoire . Performed by Deboshree, Vikram, Aditi and Sundeshna, the item included some rare 'parans' of the Jaipur gharana. Improvisations of the taal, called 'upaj', was demonstrated by each of the dancers in turn. Rani's melodious orchestra consisted of: Debashish Sarkar, and Subhashish Bhattacharya, vocal, Anjan Saha, sitar, Sidhartha Bhattacharya, tabla, and Naresh Mukherjee, pakhawaj.

The favourite subject in Kathak being Krishna, no programme is complete without a Krishna-Gopi item. Krishna Ched-Chad and Hori, in Misra Kafi and Bahag raags and set in teen taal, was presented by five of Rani's students. The pranks of Krishna with the gopis, was followed by Krishna playing holi with Radha and his sakhis, 'Holi khelath madhuban aajo Shyam....Rang rang bhar maarath pichkari...Shyam ke sung sung nache'. A lively piece where Vikram played the role of Krishna and the gopis were Anupama, Deboshree, Aditi, and Sudeshna.

The highlight of the evening was 'Shiva Shakthi', a presentation choreographed especially for the Mahasivarathri festival. An invocation to Shiva by Rani Karnaa, was followed by 'Ardhanareeshwara', highlighting the two complementary forces of Shiva and Shakthi. Taken from Ananda Lahari by Shankaracharya, and set in raag Megh, the item was presented by Deboshree and Aditi. Vikram performed the 'Shiv Tandav' where the different facets of Shiva; his matted locks, his damaru, the snakes around his body, and his trinetra, were described with their significance. Shiva, so invincible, finally surrenders to Parvathi's beauty. The dancer did full justice to his solo presentation. Of particular interest, was Vikram's depiction of the scene with Kamadeva, when he is suffers Shiva's wrath, and is scorched by Shiva's third eye.

Rani and her students concluded with 'Dasha Maha Vidya', depicting the ten incarnations of Sati, Shiva's spouse. All the dancers were dressed in white and gold, and made a striking picture presenting each of the 'avataars' - Kali, Tara, Sundari, Bhuvaneshwari, Bhairavi, Chinna Masta, Dhumavati, Bagala Mukhi, Matangi, and Kamal. The lyrics were from the Tantra Shastra. The music for 'Shiva Shakthi' was recorded. It was an exhaustive show, long, but well put together by Rani Karnaa and her students.