Double Bill Delights: Sravya Subramanyam and Sahitya Ramkumar Shine in Mesmerising Performances
The double bill featuring “Arohana” by Sravya Subramanyam in Kuchipudi and “MaMa Margam” by Sahitya Ramkumar in Bharatanatyam left the audience enthralled with their skilful artistry, vibrant expressions, and divine storytelling
The aptly titled “Double Bill” featured two stellar performances at Saptaparni, Hyderabad “Arohana,” a Kuchipudi recital by Sravya Subramanyam, followed by “MaMa Margam,” a Bharatanatyam performance by Sahitya Ramkumar.
The evening’s first piece, “Ananda Nartana Ganapatim” by Sravya, depicted the blissful dance of the wish-fulfilling Lord Ganesha. Dressed in a shimmering rich blue attire, Sravya vibrantly portrayed the Lord’s dance with his orchestra accompaniment, singing Gandharvas, and Chaaranas. Her nritta, filled with movement, covered the semi-circular stage seamlessly. Despite the Lord’s large form, Sravya conveyed his nimble and agile dance, skillfully depicting the divine musicians and their instruments.
The tarangam, composed by Narayana Teertha, showcased Sravya’s skilled vigor as she balanced on the rim of a brass plate, presenting Lord Krishna in his glory and mischievous pranks. The javali “Cheliyaro Nenemi” was both lyrical and lively, tailor-made for Sravya’s expressive abhinaya, capturing subtle expressions and nuances with mobile and nuanced facial expressions.
Sahitya’s performance began with a dhyana shloka from Lalitha Sahasranamam and verses from Raja Rajeshwari Ashtakam, creating a divine ambiance with a scarlet radiance. Adi Sankaracharya’s holy stanzas of cosmic divine energy were presented in a tapestry-like representation. A Malayalam lullaby, “Omana Thingal,” composed by Irai Amman Thampi, showcased expertly done abhinaya, with a realistic look heightened by a shining brass lamp.
The Sindhubhairavi thillana and the Marathi abhangs overflowed with devotion, while the concluding item, “Vitthale Bhakta Jana Vatsale,” brimmed with bhakti fervor. Sahitya’s energetic performance beseeched Panduranga to arrive like a rain cloud, with a draped cream shawl adding allure to the continuous flow.
Both segments earned applause from the captivated audience, appreciating the artists’ skillful use of karanas and the well-handled lighting. The simple yet subtly colored aharyam indicated a refined sense of aesthetic discernment. The exceptional quality of recorded music provided crisp and impeccable audio support, harmoniously complementing the dance performances.
