Clad in Sungudi sari, Urmila Satyanarayanan performed the function of Chokki, the narrator, in her thematic manufacturing ‘Thadathagai – The queen of Madurai’ that was premiered on the Narada Gana Sabha on December 16, 2023.
| Photo Credit: SRINATH M
The story of Meenakshi and Sundareswarar has impressed many dance productions through the years, the newest is Natya Sankalpa’s Thadathagai – The everlasting queen of Madurai.
Premiered at Narada Gana Sabha’s annual dance pageant, it’s choreographed by Urmila Satyanarayanan and Sai Kripa Prasanna. The lyrics are sourced primarily from the Thiruvilaiyadal Puranam of Patanjali Munivar by Desa Mangayarkarasi and her pupil Aravind Kumar. The music was by violinist Embar Kannan and audio by Resound India.
‘Thadathagai’ is a easy presentation of the story within the Bharatnatyam idiom. Choreography and music are the 2 elements that hold the curiosity alive on this prolonged manufacturing.
One wonders in regards to the story’s relevance at the moment. Also, the visible language didn’t appear to have something new to supply.
The high-energy nritta phase by a group of ladies in flaming pink and gold costumes throughout the premiering of Urmila Satyanaryanan’s ‘Thadathagai – The queen of Madurai’ at Narada Gana Sabha on December 16, 2023.
| Photo Credit:
SRINATH M
The high-energy nritta phase by a group of ladies in flaming pink and gold costumes, which comes as a prelude to the story, units the tempo for the following two hours. The emergence of Meenakshi from the sacred fireplace the place king Malayadhwaja Pandya and queen Kanchanamala pray for a progeny, her initiation into the numerous scriptures, artforms and martial arts, her ascendence to the throne, her expedition to Kailasa, assembly Shiva and their marriage ceremony fashioned the storyline.
The sequences movement from one to a different with finesse, however what’s fascinating is the way through which the group formations are used as a point of interest or counterpoint, in every sequence. The excellence with which the dancers showcase different expressions, actions and formations reveals the hassle.
A sequence from Urmila Satyanarayanan’s ‘Thadathagai – The queen of Madurai’ that reveals younger meenakshi, who emerges from the sacred fireplace the place king Malayadhwaja Pandya and queen Kanchanamala pray for progeny. The dance manufacturing was premiered at Narada Gana Sabha on December 16, 2023.
| Photo Credit:
SRINATH M
The central character of Meenakshi, personifying a mixture of mind and energy, valour and style, is of significance and M. Divya Lakshmi was a positive alternative. She sails by means of the function with ease, bringing out myriad aspects with conviction.
Being an instrumentalist, Kannan’s musical rating predominantly contains sounds of assorted devices akin to morsing, kanjira and thavil. The martial arts coaching sequence (choreography by Thiruchelwam) is spectacular. Similarly, when Meenakshi marches along with her military, the soundscape is seamlessly woven into the choreography, leaving a lasting impression.
Urmila, clad in a Sungudi sari and holding a basket of mallipoo (Madurai is understood for the material and flower) in her fingers, performs the function of Chokki, the narrator, with aplomb, whereas the numerous gifted dancers of her college navigate effectively the dynamic visualisation.
The costumes and color palette are effectively put-together. Make-up by Bhoopathy and Albert, and the lighting design by Venkatesh Krishnan are noteworthy.