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The Seduction of Krishnayana
Posted: Wednesday, April 14, 2004

By Stephen Kangal, Caroni

Surpassing the new benchmark set in their 2001 Central Bank’s dance-drama production of "Rama Katha", the Nrityanjali Theatre’s 2004 offering of Krishnayana staged at the Rudranath Capildeo Learning Resource Center last Friday 9 propelled the Company unto a new realm of success in Kathak-based dramatic expositions. The dance-drama Krishnayana, based on the birth and life of evil-destroying Lord Krishna was in fact a harmonious, pleasing synchronisation of colourful costuming, oriental Bhagwat Gita pageantry and the sheer seduction of glittering classical dances skillfully woven together to achieve a cathartic climax to the Krishen leela.

The huge cast of over 30 performers included several children. Sneha Rao lovingly portraying the innocent, juvenile pranks of the infant Krishna assumed and held the centre stage of the initial scenes with noticeable ease and finesse. The stage confidence, poise, facility and gracefulness of movements exuded by these budding actors augur well for the continuing success of future productions.

In the mid- scenes, the role of Krishna gained enhanced effectiveness and appeal from the exceptionally brilliant acting/dancing/miming skills of Roshni Rajnarinesingh who executed the Oriental light fantastic with enormous versatility, graceful dance sequences and whose dance dramatics must have surpassed a thousand lyrics.

Nrityanjali’s Krishnayana under the direction of Sat and Moindira Balkaransingh entertained and refreshed dance-theatre aficionados with a luminous "artee" of a Krishnaleela that was mythologically and colourfully appealing, spiritually elevating to the soul/spirit and eminently satisfying to the dance/music palate of the large discriminating audience. Krishnayana celebrates the earthly incarnation of Lord Krishna to rid the world of evil. The presentation is enriched with exotic costuming and glimpses of the alluring opulence of an Indian era when the Maharajahs unleashed all the regal splendours of their palatial elegance to the arts.

Krishnayana portrayed contrasting moods represented by the tenderness of Radii ( Gangasingh), the maternal care of Yashoda ( Moindira), the playful pranks of young Krishna ( Rao), the evil of Kamsa (Seenath), the spirituality of Lord Krishna (Sat), the physical prowess evident in the wrestling encounter and the joys of the people of Mathura on the birth of Krishna as well as the triumph of Krishna over the evil King Kamsa.

One of the outstanding features of the production was certainly the ability of the producers to fill the stage with colourful contrasting dance sequences and yet manage to exercise control to create maximum and sustained impact on the appreciative audience.

Congratulations to the entire cast and supporting staff that transported us by the sheer magical excellence and majesty of Krishnayana into the bourne of a heavenly realm of Krishna consciousness.

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