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Prof Sudharani Raghupathy is a perfectionist -- one who devotes meticulous attention to the minutest detail. She is receptive to valid corrections - -no ego problems there. No wonder her dance-narrative 'The Tale of Puhar' (Silappadhikaaram - The Lay of the Anklet), a precious Jewel in Tamil literature that serves as a spacious window into the past, the life and customs of the people of that time, through prose, song and drama - Iyal, Isai and Naatakam (Muthamizh), is a ballet to remember for long till she tops it.
If the 'Tale of Puhar' combined artistically dance techniques, the delineation of the story through graphic mimes by Kattiyakkaran (senior dancer Aruna Subbiah - congratulations, Madam), and dynamic drama, it was all due to impeccable team-work moulded by months of hard labour, dedicated commitment and deep involvement. This East - West collaboration - Sudharani's Shree Bharatalaya and Colgate University, USA, - succeeded in
unfolding the tragic-romantic story of Kovalan, Kannagi and Madhavi very impressively.
The story of this Sangam classic is well-known. Kovalan (Vijay Palaparty), a young handsome merchant, married to Kannagi (Priya Murle), gets temporarily infatuated with alluring hetaira Madhavi, later breaks up with her because of a misunderstanding, rejoins Kannagi, goes to Madurai with her to start life anew. Fate plays a cruel hand through royal aberration, Kovalan gets executed, and the outraged chaste Kannagi wreaks just vengeance on all concerned, and gets united with her husband in heaven.
She is deified as Pathini Deivam (the goddess of chastity). The emotional appeal of author poet Ilango's narrative
is perennial. The moral: one's actions will be met with consequences, both good and bad, in this life or in future lives. Kovalan died unjustly only as retribution for acts in a previous life. Virtue always triumphs.
 The premiere of this ballet was held under the auspices of Kartik Fine Arts at the Narada Gana Sabha Hall recently. It will be staged at two more city venues before end of December.
Bharatanatyam principles were strictly adhered to. Scenes and props were simple, austere and symbolic. The characters enacted their assigned roles responsibly thanks to months of toil and sweat. The respective portrayals were remarkably effective. Priya Murle's lead role as Kannagi is specially noteworthy for her flaming wrath in the finale, when Madurai gets consumed by her fire. Her confrontation with the Pandyan king mirrored seething emotions. Author lIango makes the king call her 'Raging Spirit', Fair One and Able Lady. Priya was all that. The support props and light effects (devastating fire) could have been more realistic. In fact, the scene lacked fire. The two Professors, Sudharani and Skelton, may give some thought to this end.
Sridevi as Madhavi was an apt choice. Sudharani, as Kavunthi Adigal, the Jain saint, was full of poise and represented dignified, saintly guidance to the distressed couple. Padma Raghavan as Madhavi, the cow herdess, displayed comforting appeal.
Indira Vizha had robust, natural joy as its keynote. Both the American and Chennai dancers combined well. The scene also led to the parting of ways for Kovalan and Madhavi: life is like that with joy and sorrow alternating unexpectedly. The dance techniques had all necessary ingredients. The males and females never touched each other, physically, and yet they gave that impression. Romantic interludes, reunion scenes, ensured close but safe proximity. The period costumes deserve warm mention.
Sudharani's choreography evidenced her mature genius. Decades of exemplary identification with her art proved her unique class. Padmabhushan Madurai N.Krishnan set the musical score with appropriate melodies to suit the moods of the occasion. The 'Kuravai Koothu' was the single grain that advocated the rich quality of a pot of sweet rice. We salute you, Sir.
 Anirudha I Smile please, now and then. A drummer need not be so grim, particularly if he evidences potential genius. Smiles will take you miles and miles, please! Sripriya Kamakshidasan's sensitive feeling for the soul of the poetic originals was commendable. Sasirekha, the young conductress, was a happy revelation.. Vijayaraghavan bowed in tune with the requirements. The other supports showed practical unity. The Colgate boys and girls, tall and stately, had a satisfactory encounter with the realities of Bharatanatyam. They believe in 'joie de vivre', the American way. Their instruments combined well with those of this part of our country. They enjoyed their participation in the 'Tale of Puhar'. So did we.
The introduction was innovative. Sudharani introduced Proffessor William Skelton, Co -Director and Narrator, and vice versa. They outlined briefly and pertinently their combined efforts over two years. Shree Bharatalaya and
Colgate University deserve our unstinted approbation. May be, they will collaborate again, soon!
Prof. William Skelton is an octogenarian role-model scholar, Carnatic musician and popular Nagaswaram player. His zest for research -oriented work vis- a- vis Tamil classic is amazing.
R. Srinvasan
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