Sangeetha Ishwaran commenced the presentation with 'Entha chakkani vade' in Abhogi ragam, Adi talam, describing her beloved Krishna's magnificence. Shobana Balachander handled 'Nannetiki pommanere' in Pantuvarali ragam, triputa talam, sung by Vanathi. She created a vivid portrayal of the mugdha nayika, who doesn't want to go back to Krishna after her first physical experience with Him. Having found it distasteful, the young girl innocently beguiles her friends to take her place.

'Rama Rama prana sakhi' had Krishna in viraha, suffering the pangs of separation from his beloved, speaking instead of Rama's anguish when separated from Sita. This Bhairavi padam, the only male-centred piece of the evening was delineated by a self conscious Lakshman who was not able to realize his potential. Lalitha, Chamundeshwari, and Annapoorna together presented the 3 stages of maturity of a nayika in 'Nanne pennladu sumi' in ragamalika: mugdha, the inexperienced, madhya, the partly experienced, or the one just blooming, and pragalbha, the experienced and confident one. They all share the same wish – to marry Krishna. Each one entices Him differently. There was good visualization with Krishna seemingly torn between the women. And as an anti-climax, He walks away from all three! The pallavi and the anupallavi were performed by them together, and the charanams were handled separately.

Sangeetha was more comfortable in Yela Vachitive in Navaroj, misra chapu talam. The sakhi demands of the heroine, 'How can you walk away from Muvva Gopala who is in misery? He dreams of you, sees you everywhere...' Her portrayals of the sakhi and the nayaka were effective. Here, Vijayalakshmi's voice was full of melody and bhava. In 'Kodi koosein aiyayo' in Saurashtra ragam, Adi talam, the nayika relates her experience of the night just passed. 'Krishna returned late, and just as we embraced the rooster crowed.' Priyadarshini Govind's replay of the event was restrained, but very real. Depicting Krishna walking away was one of the highlights of the evening when the dancer kept switching between a disappointed heroine and a hurrying hero who walks away without even a backward glance.

'Etuvanti vade vadu' in Kalyani ragam, misra chapu talam by Sushila Mehta was inadequate. A young heroine reacting to Krishna's attention enquires about Him. The quintessential bhava of excitement and curiosity accompanying the mundane questions was unfortunately missing. In 'Evvathe koodina nemi' in Gowli pantu ragam, misra chapu talam, Shobana portrayed a nayika who has shared so much with her beloved that she is unperturbed with tales of other women dallying with him.

'Choodare' in Sahana ragam, misra chapu talam, by the afore- mentioned trio seemed a bit contrived. They gossip about the woman involved with Krishna, 'She is so lost in thought; she does not even bother about her clothes or behaviour.' This was in effect gossip laced with envy; but tinge of envy did not come through. The padam was well sung by Vijayalakshmi.

'Ninnujooda galigenu' in Punaagavarali, misra chapu talam by Priyadarshini described the union between husband and wife after a separation. The nayika's liquid eyes tear up in joy. Her hesitant, 'Did you even miss me? I longed and prayed for your early return... Please don't go again...' was poignant. A stirring finale for an evening of sophistication and skill.