The tisra alarippu and the ashtanayika slokam served as the preamble. Some delineations were depicted fleetingly, the others in more detail. A musical interlude in sahana ragam presented the proshitapatika nayika, a heroine who is unable to bear even a temporary separation from her husband or lover, Lord Muruga, in this instance. In ‘Ohho yendre alankarithu kondain’ in Bhairavi ragam, the vasakasajja nayika is waiting for his arrival. Indira chose a varnam in Kapi ragam, adi talam, ‘Mamohalahiri meerude Swamy’ composed by Kunnakudi Venkatarama Iyer, to demonstrate a virahotkhandita nayika, or one who is anxious because her lover has not come. The theermanams in the varnam were executed with fervor and enjoyment. The third jathi in particular had intricate rhythmic beats that Indira was more than equal to. Her sancharis were done with feeling, and her abhinaya was mature. The statue of Muruga in the corner was a bit redundant considering the fact that Indira was emoting well enough to convey the message.

The impatient abhisarika nayika goes out looking for him and finds him with another woman. The shocked vipralabdha nayika asks him, ‘Who was that woman? Have you forgotten our love and all that we have shared? Come back to me...’ When Muruga denies the accusations, the nayika tells him, ‘I’m prepared to accept your betrayal, but not your lies.’ She is an angry khandita nayika who in ‘Yellam arivain pomiah’ in kalyani ragam tells him to leave. Soon after, she turns repentant, a kalahantarita nayika, and regrets her harsh words, and wonders if she will ever see her lover again. The alaap in Dwajavanthi ragam beautifully and soulfully rendered, established the mood before the dancer could do her bit. The music blended in at every turn, whether in mood, or in creating the right atmosphere and the coordination between singer and dancer was definitely at a much more evolved level.

Seeing him approaching in the far distance, the heroine is now excited and happy. She is a swadeenapathika nayika, who is proud and sure of her man. Her meeting with him was very touchingly portrayed. Her expression of regret over all that had happened, the forgiveness in her eyes, and the welcome, all at the same time was very well done.

Indira concluded with a thillana in Simhendra Madhyama ragam, matya talam, a composition of Prof C.V.Chandrasekhar. The lyrics of the original thillana were changed by him to incorporate Muruga, the nayaka of the evening. From Banglore, Indira is a welcome addition to the Chennai cultural scenario, bringing with her, a considerable amount of commitment and talent.