Music steals the show

Sweta Prasad, who is well known in Hyderabad art circles as one of the best singers for dance, has recently added one more feather to her cap, as the creator of a musical drama. Here, in a reversal of the roles, it was dance that supported the rich music and not vice versa, which is usually the case. In this new concept, the chief musician, singer Sweta has not only carried the entire show on her able shoulders, but even stole show! For a singer, who is always seated in one corner of the stage along with the orchestra, providing inspiring music for dancers with her mellifluous voice, it is a big change.

Be it full throated singing, or acting as the sutradhar stringing episodes together or taking the role of an inner voice, Sweta played all the roles with flair. Her entire team of musicians, seated prominently in two tiers, occupied the prime place on the dais and performed in full view of the audience. For once, the orchestra glowed with pride and hogged the limelight. And the dancers didn’t mind playing second fiddle. Krishna, the all time favourite character of dancers and musicians alike, comes alive on the stage, in five different variations in this feature, “Krishnatva” (which means being Krishna).

Conceived by Sweta Prasad, it was presented in four segments, Krishna’s love for his mother Yashoda as a son, his eternal longing and amorous love for his beloved Radha, his friendly love and affection for his childhood playmate Kuchela, his brotherly protective love for Draupadi and his unrelenting love for Arjuna, as a friend, philosopher and guide. Drawing from the compositions of Purandaradasa, Annamacharya, Jayadeva (Ashtapadis) and Sadasiva Brahmendra, the string of musical delights were danced to, by all dancers dressed in different shades of blue.

The concept somehow reached the audience who are all well versed with the stories of Krishna, though the whole feature could have been better constructed and executed. Though it is a laudable effort, the segments looked disjointed, lacking a flow. It can be improved upon with guidance and inputs from experts in the fields of production and choreography, for future presentations. In the dance section, it was mostly free movements with the least possible footwork comprising basic steps- light and easy going, unlike a classical format.

Pramod Kumar Reddy as Krishna looked novel, with no trace of blue anywhere on his body or in his costume except for a single peacock feather tucked into his golden turban. Lalitha Sindhuri, who played Yashoda and Kuchela displayed reasonable abhinaya skills. Koka Vijayalakshmi was more convincing in the role of Dussasana, than as Radha. Akshaya as little Krishna delivered a good performance. Others exhibited plain miming with minimal expression. Renuka Prasad on Mridangam, Sai Kumar on violin, Pramod on flute, Sreedharacharya on percussions and Srikanth on tabla had ample scope to show their talent.

By Vijaya Pratap