Sarath Naik is known for his energy, stamina, and the balance he strikes between nritta and abhinaya. On this evening, he opened with a Lakshmi Narasimha shlokam, followed by a Narasimha Kauthuvam in Ragamalika (penned by Sri G. Gurumoorthy; music composition by Sri Balasubramanya Sharma).
He embodied Narasimha with intensity. The movements were defined, strong without being violent, delivered with fresh and clean energy. The descent was palpable; you could see him shake from the force of manifesting Narasimha within himself. It was visceral and immediate. It revealed immediately that this would be a performance of depth, led by an artiste both naturally gifted and rigorously trained.
Still, the energy distribution, however, could have been more carefully calibrated. There were moments where intensity peaked in ways that didn’t fully serve the compositional arc. That said, compared to his Kali Kauthuvam at Krishna Gana Sabha, the orchestra here was markedly more responsive to the piece, supporting him with greater sensitivity.
What became immediately evident was Sarath’s immaculate grasp of rhythm. It was a playful take and the orchestra visibly engaged in responding to his movements and bhava. This rapport was a jewel of the performance: the orchestra’s openness and malleability meeting Sarath’s spontaneity and rhythmic control. The dialogue between them sustained well into the varnam.
The central composition of the evening was “Mohalaahviri Mirude,” a Tamil varnam in Raga Kapi (by Kunnakudy Venkatarama Iyer), portraying a virahotkanthita nayika consumed by anguish in separation from her lord. Sarath embodied the character wholly, maintaining strong sthayi bhavam throughout with conviction and involvement.
The jathi and dance composition were innovative within a traditional framework, just avant-garde enough to engage a broad audience. The progression of bhavam, the layering of character, the structural intelligence of the natya composition: all were thoughtfully realized. Acharya Smt. Indira Kadambi’s choreography brought fresh interpretive perspective to the varnam without sacrificing its essence. Sarath’s exploration of the arudis was particularly compelling. Each iteration invited anticipation: what approach would he take this time? His spirit was most touching in moments of desperation and longing, well aligned with the varnam’s essence. He appeared to have poured himself into it.
As the performance progressed, however, secondary movements began to emerge as he expended energy. His jumps remained flawless, but additional bounces and shifts appeared when he tired, creating a sense of noise that momentarily undercut the earlier conviction. It wasn’t constant, but noticeable.
What remains unmistakable in Sarath’s work is a certain innocence and sincerity. This came alive in the abhinaya compositions: “Ososi,” a popular Kshetrayya padam in Raga Mukhari, and “Gokuladhalli,” a devaranama in Raga Keeravani. The padam has grown on him since his last performance. He delivered it with greater finesse and conviction this time, responding sensitively to the orchestra’s phrasing and musical choices. The rapport held.
The evening concluded with Dr. M. Balamuralikrishna’s thillana in Raga Kadanakuthoohalam, followed by “Kamale,” a bhajan composed by Sri Vittala Daasa in Raga Patdeep. The thillana is one of Smt. Indira Kadambi’s iconic natya compositions, structured to make the music visible and embodied. He executed it with characteristic energy and musicality. The bhajan that followed offered a gentler close to the evening. Sarath attempted to build dramatic intensity in its final passages, however, this did not quite achieve the entire intended impact. Not every choice connects on a given evening and that, too, we suppose, is part of the beauty and rigour of live and complete performances.
The orchestra -Acharya Smt. Indira Kadambi (nattuvangam), Shri Rohith Bhat (vocals), Shri Vidhyashankar N (mridangam), Shri Nithish Annamayya (flute), and Shri Prashant RP (veena)- deserves particular recognition for their responsiveness throughout the recital. Their willingness to engage in musical dialogue with the dancer elevated the performance considerably.
The production values supported the artistry well. Lighting design was notably effective, complementing rather than competing with the performance. Makeup by Saibrinda and Apeksha of Ambalam enhanced Sarath’s abhinaya, ensuring facial expressions and emotional nuance registered clearly, without being overpowering.
A review by Neeharika Patnam
Neeharika Patnam is a Bangalore-based Bharatanatyam practitioner trained under Padmabhushan Naatyacharyas The Dhananjayans and currently mentored by Acharya Smt. Indira Kadambi. She moves between worlds with ease: engineer, educator, graphic designer, full-stack developer, and Terra Climate Fellow. She leads the humanities wing at an alternative learning space and consults for Pratham, supporting educational-intervention projects with World Bank funding and government partnerships. Neeharika is most at-home in the mountains: climbing, trekking, contemplating.
