The production traced the life of Andal, commencing with her discovery in a tulsi plant in Srivilliputur, until her supposed marriage to Ranganatha. The opening sequence was performed using only nritta that seemed to borrow from kalaripayattu. The varied and different poses of Vishnu- as Garuda, Gurvayoorappan, etc. struck by the dancers standing in a straight line and constantly interchanging was a novel concept, and added to the choreographic value. Andal Pravesham had a very interesting feature in a piece of tissue. The same piece of cloth was used so imaginatively- Now a screen, now a garland, now a mirror, now a flute, now a stream of water. The dramatic elements such at these do not detract from the orthodoxy of the tale, but certainly add to the impact.

Andal addresses Lord Ranganatha's conch, Paancha Janyame, with pasurams from the Nachiar Thirumuzhi. This was the most beautiful composition of the evening, set in Kalyani and Vasantha ragams. The sancharis regarding Krishna and the elephant, Krishna grinding the bones of the rakshasa under the ocean into a conch, the Vaamana avatar, etc. were all were dramatic, but what could have been an intense and sensual piece was diluted by these sancharis and the nritta that was added for good measure. The first verse, 'Karpooram Naarumo- How do his lips taste- do they smell of camphor or do they smell of the lotus flower?' is indicative of how much feeling there exists behind the lines.

The extensive orchestra consisted of N.K.Kesavan, mridangam, maddalam, and dole, Shobana and Venkataraman, vocal, Natarajan, violin and Subhasri, nattuvangam, who led from the front. Shobana, the lead vocalist did tend to meander from the sruthi now and then, though she was otherwise impressive.

The procession of the Utsava murthi in Thirukurungudi was replicated on stage with the ritualistic verses from the Kaisika Natakam. Andal is now in the throes of despair. Revathy Sankaran as her mother comforts her with 'Kannan yenum Karumdevam', but this pasuram was adapted to suit the third person. An award winning performance from a senior artist. 'Vaaranam Aiyeram' is a dream where Andal recounts details of her wedding to Ranganatha. In Hamir Kalyani ragam, misra chapu talam, the verse was sung as a thillana and danced by all the proficient members of the troupe. Andal is finally in a bridal procession going to reunite with her beloved Krishna. Thus ended one and a half hours of undiluted aesthetic enjoyment.