The solo Bharatanatyam recital of Chitra Lakshumanan, disciple of Srekala Bharath, was presented as part of the HCL Concert Series at The Music Academy. Chitra commenced her performance with a shlokam on Muruga, followed by the Shadakshara Kouthuvam in raga Shanmukhapriya and Rupaka tala, a composition by Madurai R. Muralidaran. Adorned in a vibrant green and red costume, the dancer showcased precise hand movements and sharp footwork, which lent grace and stability to the performance.

The next piece in the recital was Mandooka Shabdam in Ragamalika and Misra Chapu, a composition of the Tanjore Quartet. The piece narrates the story of a frog seeking divine intervention and salvation. Chitra’s sensitive interpretation drew the audience into the essence of the story. The choreography for this piece was by K. G. Sarasa, guru of Srekala Bharath.

The centrepiece of the recital was the Swarajathi ‘E Mayaladira’ in raga Huseni, set to Rupaka tala, a composition by Ponniah Pillai of the Tanjore Quartet. The piece explored the anguish of a heroine troubled by her beloved’s changing behaviour and suspected disloyalty. Chitra conveyed the heroine’s emotions of love, doubt, and heartbreak with finesse through expressive abhinaya and controlled movements, maintaining a fine balance between nritta and narrative expression.

The second half of the recital featured the padam in tamil ‘Teruvil varano, ennai shatre tirumbip-parano’, a composition by Muthu Thandavar in raga Khamas, set to Rupaka tala. The piece portrays a lovelorn devotee awaiting the procession of Lord Nataraja, yearning for a fleeting glance from the deity to ease her longing. Chitra sustained the momentum of the recital, bringing grace and emotional resonance to the presentation.

This was followed by the Javali ‘Parulannamata’, a composition by Dharmapuri Subbarayar in raga Kaapi and Rupaka tala. Written from the perspective of a nayika addressing her beloved, the composition is a heartfelt plea for trust and affection.

The recital concluded with a thillana in raga Paras, set to Adi tala, a composition by Poochi Srinivasa Iyengar. This was followed by an abhang, composed by Bhanu Dasa, which described the enchanting melody of Krishna’s flute resonating through Vrindavan and around the mighty Govardhana mountain. The composition depicted the enchanting effect of Krishna’s flute on all beings, including the dancing peacock reminiscent of Krishna himself. Chitra conveyed the devotional essence of the piece through spirited movements and evocative storytelling, bringing the recital to a close. The thoughtfully curated repertoire offered a pleasing variety of themes, emotions, and rhythmic textures, ensuring that the recital remained engaging throughout and never felt drawn out for the audience.

The orchestra for the evening featured Preethy Mahesh on vocals, Sakthivel Muruganandam on the mridangam, and T. V. Sukanya on the violin. The choreography and nattuvangam were by Srekala Bharath, while the make-up was by Saraswathi.