The ancient Indian dance form of Bharatha natyam originated from the Natya shastra with its roots entwined with the origins of Hindu religion. As such it is an art form that transcends the physical and visual and elevates the narthaki, the dancer, and the audience to a spiritual level. The culmination of Bhavam, ragam and thalam take those who watch the dancer on a journey.

The auditorium was filled with this spiritual ambience from the very opening of the evening and set the stage for the pranks and delights of
Sri Krishna that evening. Asthe evening unfolded the natyam (dance) was as much a treat for the eyes as the music was delight for the ears. The effort that had gone into crafting every scene, to create the emotions displayed on stage and on the faces of the audience, and the effective use of the lighting were all evident .I am sure all credit goes to Anuradha for the meticulous planning that lies behind producing such a show. The coordination and practice of the groups of dancers brought the goddess Kali to life in front of Kamsa and our eyes.

Kallathanmum enada was a beautiful song where Baby Krishna stole our hearts from the arms of his mother Yasodhara. Here I must mention the dancers who played the roles of Yasodhara and Devaki were well cast and maintained a standard of perfectionism throughout the show.
Bala Krishna Abishek was an absolute delight to watch as he played the role naturally and with a lot of zest. The hallmarks of a
professional dancer are already evident in this young boy and will be one to watch in years to come.

Another scene which stayed in my mind was the Gopis complaining about Krishna to his mother and him getting punished leading to his revelation of himself as Lord Maha Vishnu with the universe contained within his mouth .In this scene all aspects - the dancers, the music and the emotions were simply awesome. But of course the favourite Scene of the night was the Kalinga narthana . It was a spectacular display of choreograph and co-ordination once again with credit to Anuradha. in fact the Group dancers from the begining to the end did a wonderful
job of synchronisation and clarity .

The second half Sri Krishna and Radha’s relationship portrayed through dance was very nice although there was a little loss in the pace
and momentum compared to the the first half. Perhaps because to create the magnificence of Kurukshethra to be recreated on stage
with minimal dancers is not easy and some audiovisuals or effect may have helped to enhance the reality of the scene. However the
Geetha upathesam was divine and the absolute culmination of the play.

On the whole it was a great Dance Drama with all the navarasas depicted by abinaya and the dancing was well balanced and beautifully presented. Congratulations to all the dancers and Anuradha for another wonderful production.