Sree Rama absorbs Aucklanders
We experience the first rhythm while in Mother’s womb. Mothers’ heartbeat lays the foundation for a musical rhythm right from the onset of one’s life, followed by his/her own beat. It is believed that music fulfils emotional, physical, spiritual and intellectual dimensions of all creatures. When rhythm is embedded in music it gives even the heartbeat a melodious swing.
Saturday, the 2nd October 2010, Dorothy Winston Centre, Auckland was packed with hearts that that had swung with joy, contentment and ecstasy. I was one amongst them witnessing Sreerama, a Bharatnatyam dance ballet put-up by Nrityabhinaya – Anuradha’s School of Indian dances. It was based on Kamba Ramayana and was performed for the second time due to public demand.
Anuradha RamKumar, the director of this show is known for her creative ideas and showcasing quality performances through her students. Carved with perfection and coated with dedication the dance ballet was quite exquisitely presented. The show started about 20 minutes behind the schedule, which made the audiences a bit unsettled.
The intensity of the show picked up as soon as Rama entered the scene. Ushma lived the character of Rama. Rama’s accompaniment has always been Lakshmana and Neha handled the role aptly and I felt that the duo was just made for their characters. The majestic body movements of Rama and Lakshmana were astonishing and fastened the audience to their seats. Simran and Mallika had strong adherence and devotion to their respective roles of Tataki and Vishwamitra, which I felt justified.
The scene showing the birth of Ahalya, shedding her curse, was well enacted by Swarali. The co-ordination of the co-dancers showed precision. Again Rama and Lakshmana took over the scene with their beautiful expressions and subtle movements. Following this was the Mityhila scene where Sita played by Anuradha sweetly called as Anushka was introduced to the audience for the first time. Anushka has very elite features and body structure that made an immediate connection with the audience through her character Sita. The ‘love at first sight’ expression of Rama and Sita showcased the talent of Ushma and Anushka and I declared to myself that they are made/mad for each other couple.
They were few flaws in the Dhanush lifting scene that could have been avoided as it disturbed the austerity of the show. Formal wedding scenes at Mithila with the blessings of Janaka (Karan), Sita’s father, followed by welcoming the couple at Ayodhya were just out of the world. I could feel the intensity of the characters that gave a gripping effect on audience. The icing on the cake of the first half was Kaikayi by Vidya. Vidya is known for her stunning body movements and defined face expressions. Vidya has the capacity to meet and beat the expectations of the audience, which she did, both while interacting with Kooni (Sandhya) as well as while conversing with Dasaratha (Archana). I would say that the first half of the show was certainly taken over by Rama, Lakshmana and Kaikeyi with their eye-catching action and heart-melting emotion.
After a 20 min break, the show quickly regained its momentum. The characters Surpanakha and Jatayu by Kamshika and Yashika were well handled with lot of rigour and passion to their respective roles. Eena nicely fitted herself into the role of Sugriva.
The highlight of the latter half certainly was Hanuman acted by Shreshta who also performed as Vasishta. Hanuman captured the title as the ‘darling of the audience’ right from the time he jumped into the scene.
Vishwaroopam and handing over the choodamani to Sita by hanuman was something that has cast a very high impression on Shreshta’s dancing potential. She has certainly captivated and taken me into the scene and I was emotionally connected to the role I should say. This was felt by many of the spectators. Way to go Shreshta! Divya was quite fitting to the role Ravana and did her best. I felt that the first half of the show was much in detail when compared to the second half. The interludes between the scenes could have been filled up with music or commentary to continue the thoroughness of the scene/story and grip the audience emotionally.
The Pattabhishekam scene culminated the whole show in a colourful, complete and composed manner where the director Anuradha Ramkumar gave her first and last appearance to the audience. It was nice to see one of the parents acknowledging the efforts of parents, teachers and students, which were highly appreciable, while Sashank and Uttara, came up on the stage for the vote of thanks. Overall it was a wonderful journey and a great experience to one and all sitting in the audience. This write up is incomplete if I do not recognize the efforts of those behind the scenes such as people involved in make-up, costumes, stage decorations. I look forward to the next show with a totally new concept from Anuradha Ramkumar and her beloved students.
We experience the first rhythm while in Mother’s womb. Mothers’ heartbeat lays the foundation for a musical rhythm right from the onset of one’s life, followed by his/her own beat. It is believed that music fulfils emotional, physical, spiritual and intellectual dimensions of all creatures. When...
We experience the first rhythm while in Mother’s womb. Mothers’ heartbeat lays the foundation for a musical rhythm right from the onset of one’s life, followed by his/her own beat. It is believed that music fulfils emotional, physical, spiritual and intellectual dimensions of all creatures. When rhythm is embedded in music it gives even the heartbeat a melodious swing.
Saturday, the 2nd October 2010, Dorothy Winston Centre, Auckland was packed with hearts that that had swung with joy, contentment and ecstasy. I was one amongst them witnessing Sreerama, a Bharatnatyam dance ballet put-up by Nrityabhinaya – Anuradha’s School of Indian dances. It was based on Kamba Ramayana and was performed for the second time due to public demand.
Anuradha RamKumar, the director of this show is known for her creative ideas and showcasing quality performances through her students. Carved with perfection and coated with dedication the dance ballet was quite exquisitely presented. The show started about 20 minutes behind the schedule, which made the audiences a bit unsettled.
The intensity of the show picked up as soon as Rama entered the scene. Ushma lived the character of Rama. Rama’s accompaniment has always been Lakshmana and Neha handled the role aptly and I felt that the duo was just made for their characters. The majestic body movements of Rama and Lakshmana were astonishing and fastened the audience to their seats. Simran and Mallika had strong adherence and devotion to their respective roles of Tataki and Vishwamitra, which I felt justified.
The scene showing the birth of Ahalya, shedding her curse, was well enacted by Swarali. The co-ordination of the co-dancers showed precision. Again Rama and Lakshmana took over the scene with their beautiful expressions and subtle movements. Following this was the Mityhila scene where Sita played by Anuradha sweetly called as Anushka was introduced to the audience for the first time. Anushka has very elite features and body structure that made an immediate connection with the audience through her character Sita. The ‘love at first sight’ expression of Rama and Sita showcased the talent of Ushma and Anushka and I declared to myself that they are made/mad for each other couple.
They were few flaws in the Dhanush lifting scene that could have been avoided as it disturbed the austerity of the show. Formal wedding scenes at Mithila with the blessings of Janaka (Karan), Sita’s father, followed by welcoming the couple at Ayodhya were just out of the world. I could feel the intensity of the characters that gave a gripping effect on audience. The icing on the cake of the first half was Kaikayi by Vidya. Vidya is known for her stunning body movements and defined face expressions. Vidya has the capacity to meet and beat the expectations of the audience, which she did, both while interacting with Kooni (Sandhya) as well as while conversing with Dasaratha (Archana). I would say that the first half of the show was certainly taken over by Rama, Lakshmana and Kaikeyi with their eye-catching action and heart-melting emotion.
After a 20 min break, the show quickly regained its momentum. The characters Surpanakha and Jatayu by Kamshika and Yashika were well handled with lot of rigour and passion to their respective roles. Eena nicely fitted herself into the role of Sugriva.
The highlight of the latter half certainly was Hanuman acted by Shreshta who also performed as Vasishta. Hanuman captured the title as the ‘darling of the audience’ right from the time he jumped into the scene.
Vishwaroopam and handing over the choodamani to Sita by hanuman was something that has cast a very high impression on Shreshta’s dancing potential. She has certainly captivated and taken me into the scene and I was emotionally connected to the role I should say. This was felt by many of the spectators. Way to go Shreshta! Divya was quite fitting to the role Ravana and did her best. I felt that the first half of the show was much in detail when compared to the second half. The interludes between the scenes could have been filled up with music or commentary to continue the thoroughness of the scene/story and grip the audience emotionally.
The Pattabhishekam scene culminated the whole show in a colourful, complete and composed manner where the director Anuradha Ramkumar gave her first and last appearance to the audience. It was nice to see one of the parents acknowledging the efforts of parents, teachers and students, which were highly appreciable, while Sashank and Uttara, came up on the stage for the vote of thanks. Overall it was a wonderful journey and a great experience to one and all sitting in the audience. This write up is incomplete if I do not recognize the efforts of those behind the scenes such as people involved in make-up, costumes, stage decorations. I look forward to the next show with a totally new concept from Anuradha Ramkumar and her beloved students.
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