Accent on expressions

All four plays of Kottayath Thampuran are an acid test even for seasoned Kathakali artistes. Of these, the first part of the play Kalakeyavadham offers tremendous scope for an actor to portray multiple shades of Veera (heroism) rasa. The principal segment is the second scene in which Mathali, charioteer of Lord Indra, travels to Earth to invite Arjuna to heaven. Salajjoham is an embarrassed Arjuna’s response to Mathali’s eulogy.

Memorable act

Kalamandalam Shanmukhan as Arjuna recollected his cholliyattam (full-fledged training in the Kalari) of the padam in all its details. The slow-paced padam in Adantha tala (56 beats) demands that the actor be precise in angika (hand gestures and movements) and vivid in the expression of valour. While the angikabhinaya of Shanmukhan had the beauty of discipline, his satwikabhinaya (expressions from deep within), at times, lacked intensity especially in Arjuna’s reaction to Mathali and in the familiar swargavarnana (description of heaven).

Arjuna sharing his wonder and delight with Indrani was an enchanting scene. Incidentally, the brief presence of Kalmandalam Adityan as Indrani was impressive. The distinctly choreographed Ashtakalasam in the line Sukruthikalil mumbanayi (I have become the first amongst the blessed) was technically redoubtable as Shanmukhan admirably stuck to the Kalari codes.

Kalamandalam Adityan as Indrani in Kalakeyavadham, which was staged in Edappally   | Photo Credit: Special arrangement

Mathali, though not a major character in the play, requires the performer to execute kalasams (dance segments) with a rare rhythmic nicety. As Mathali, Kalamandalam Arun Warrier performed fluently as he is well conversant with the grammar of Kalluvazhichitta, the North Kerala style of Kathakali. FACT Biju Bhaskar as Lord Indra was quite appealing. Kalamandalam Babu Namboodiri and Kalamandalam Viswas sang the slokams and the padams within the contours of the visuals. Kalamandalam Ravisankar was on the chenda and Kalamandalam Vineeth was on the maddalam.

Kalamandalam Rachitha Ravi’s commitment to Mohiniyattam is unquestionable. Years of training at Kalamandalam and her quest for aesthetic enrichment of the dance form have become her assets. This was evident in her recital.

Keen practitioner

She started her concert with a slokam from Karthika Thirunal’s Balaramabharatam followed by Sreevighnarajam Bhaje of Oothukad Venkata Subba Iyer’s in raga Gambheeranatta. Rachitha portrayed the glory of Lord Ganesha.

Kalamandalam Rachitha Ravi   | Photo Credit: Special arrangement

Her choreography of the Swathi Thirunal composition Palayamam deva in raga Poornachandira and Adi Tala, into a varnam was the next item. Parvathi’s longing for Lord Siva as her husband and her penance for realising her goal was depicted by the dancer. She evocatively presented Lord Siva’s appearance before Parvathi in disguise, her embarrassment and, eventually, becoming his consort. Rachitha then moved on to an episode dealing with the churning of Palazhi (ocean of milk) and Siva’s role in saving the cosmos.

It seems many Mohiniyattam dancers of the day are obsessed with the plight of the epic character Karna. Rachitha was no exception. Influenced by Shivaji Sawant’s acclaimed novel Mrityunjaya, her new choreography ‘Karnayanam’ (Karna’s journey) was staged as the next item. The entire item proved to be melodramatic. The saving grace was the background music.

Rachitha’s presentation of the sixth Ashtapadi of Jayadeva, Nibhruthanikunjagriham gathaya (one who furtively reached the lonely arbour) was poignant. She deftly depicted Radha’s pangs of separation from her Krishna. Raag Sudhasarang and Misra Chapu tala accentuated the mood. Rachitha spontaneously touched the height of sensuousness within the traditional structure of Mohiniyattam. The recital concluded with a not-so-refreshing thillana in raag Basant Bahar.

The three-day event, Kesaveeyam, was organised in memory of the late chenda maestro Kalamandalam Kesavan. It was held at Changampuzha Park, Edappally, under the auspices of the Changampuzha Samskarika Kendram.