At the outset, reviewing a dance drama is totally new to me because I’ve never done it before. Maddy has already written a wonderful review analyzing all aspects of this drama. For me to try to replicate that is an exercise in futility. However, a juicy carrot has been dangled before me and so here goes an amateurish effort…

The Concept of a Dance Drama

Most of us have been fed on a staple diet of Bollywood, Mollywood, Tolywood films, etc. since our childhood. Being no honourable exception to the majority, I had virtually no clue as to what a dance drama was all about. Yes, I had seen some stand-alone dramas and even fewer stand-alone dance performances in Mumbai but never to a combination of the two. As the word signifies, a Dance Drama combines both these forms of performing arts, thereby creating a unique visual amalgam.

Prakriti

The word “Prakriti” is derived from the two Sanskrit words – “Pra” (to manifest) and “Krita” (that which makes) both together meaning “that which caused the universe to manifest itself”. In Hindu mythology, Prakriti refers to the primordial essence or the Nature around us.

In today’s world where people are not convinced of achieving their dreams by being who they really are and by utilizing their innate traits, “Prakriti” sends out a strong message that it pays to stick by one’s dreams and to pursue them with concerted thoughts, words and actions.

The central character, “Prakriti” (Ayesha Jhulka) is a archetypal child of nature and along with her mother, performs the routine chores at a dance school. She lives and breathes dance every moment and even interprets the beauty of nature around her through the eyes of a dancer. Her ultimate ambition is to become dancer but is rudely awaken from her lofty dreams by her mother who reminds her that she is only an ordinary servant at the school.

Not to be discouraged, Prakriti discreetly watches the master teaching dance to his disciples and she practices the same steps and movements in a secluded place where no one can watch her. How she manages to overcome the societal ridicule and wins the attention of the master who gladly teaches her the dance forms the rest of the drama.

The Performances

Ayesha Jhuka is, quite understandably, present in almost every scene of the drama and does a fair job of it. However, 6 years of dancing around trees and 4 years of sitting at home have taken a heavy toll of her physical anatomy. So much so that she not only looks bulky but clearly appears as sluggish and immobile as a chronically arthritic slug in most dance sequences.

The impact of a dance drama is more dependant on the expressions of the main character and sadly, Ayesha fails to understand this. Consequently, she falters at implementing the subtle changes called for while acting in movies and when performing in front of a live audience. The character of Prakriti asks for a certain amount of innocence and fragility which Ayesha fails to bring out effectively.

Guru Ram Kumar (also the choreographer) as her dance teacher clearly looks out of sorts performing in front of a live audience. Call it stage fright or butterflies in the tummy but the fact remains that even a layman to Kathak could easily make out whenever he missed a particular step or failed to “dance to the tune” (sic).

Vatsala (Renu Sharma), the mother, gives a good performance but is often hampered by an inadequate “screenplay” that curtails her from giving her best. The disciples (6 girls) have all danced very beautifully and once particular dance sequence where they portray the “Navrasas” or the nine forms of emotion is a sight to behold. Their dance steps are impeccable as is their talent for displaying the right facial expression at the right time. Time for Ayesha to take some refresher courses from them perhaps?

Thus Spake TiC

I watched this drama at the NCPA when it was first performed in Mumbai on September 27, 2002. The initial impression was impressive (wrong English?), especially the use of the voiceover and projector slides to connect the various “threads” of the story. The theme is an ancient one in Hindu mythology but has been well conceived and presented keeping in mind the present generation.

The drama lasted about 2-2.5 hours (with gaps between every “act”) and with the inevitable filmi “Intermission” thrown in for good measure. The sets and costumes were apt for the story and blended well with the overall flow. The dance compositions were a visual treat but marred to an extent by some insipid performance from Ayesha and her Guru.

The background score as well as the composition of the main songs perfectly suited the requirement of the drama keeping in mind the various emotions associated with each song as also the final sequence which is a mix of dances from various parts of India. I felt extremely proud of the excellent work done by Madhav Ajgaonkar (the music composer) because he comes trumps with some excellent classical music despite not having any formal training in it. Composing the music for an off-beat venture such as this was always going to be a challenging task and Madhav has more than delivered the goods on this ocassion.

At the same time, I couldn’t help chuckling to myself at his compulsions on including a typical Bollywood number, complete with the hip-swinging beats and a semi classic-techno feel to boot. Madhav deserves to be whole-heartedly congratulated for eliciting a more-than-energetic performance from Ayesha in this song at least, if not the others (Methinks she felt totally comfy only with this particular filmi number).

All in all, it was an evening well-spent, not so much for the diversion it provided from my hectic schedule but more because it was a uniquely wonderful experience for me to watch a different form of performing art. I “Highly Recommend” watching this drama should any of you get the chance. For details regarding the schedule of the next performance, please check www.prakritionline.com.

Best to watch with:

Spouse/Partner