Thematic Bharatanatyam performance Mayyal by Deepa Mahadevan at NGS on May 6, 2023. Photo Credit: Srinath M
Deepa Mahadevan’s solo production ‘Mayal’ primarily examined love through the lens of an angry heroine who wants to claim ownership over her lover Krishna. While the performance included some popular pieces, it was Deepa’s mentor Madurai R.K. was anchored by a Tamil composition by Muraleedharan, which stood out for its simplicity and directness.
As the performance progressed, different shades of makeup could be seen. Deepa made her singing debut with Ashtapadi’s characteristic, candid sensuality, gradually progressing to portray Khandita the heroine, who is troubled by her lover’s multiple romantic affairs.
Deepa Mahadevan explores love through her thematic single. Photo Credit: Srinath M
live body
Madurai R. Muraleedharan, known for his rhythmic discipline, played an important role in Nattuvangam. The long items were punctuated by some of his signature jathis which were fueled by exuberant bursts of energy. Muralitharan’s dance portions are demanding and designed to be bombastic.
Deepa tries to visually bring out the power of these jathis through her impressive footwork and following the rhythm. He conjures up images of heroism and awe through episodes such as lifting the Govardhan hill and Vamana encircling the universe with his feet, with his considerable effort to strike these difficult postures.
The adaptation of the lyrics and music helped the dancer to carry the performance while showcasing her unique strengths. Finally, Deepa managed to fit in a folk tune to portray Krishna’s assurance of unconditional love to the already married Gopika.
Deepa Mahadevan impresses with her footwork and expressions. Photo Credit: Srinath M
Srikanth Gopalakrishnan and his team of music composers uplift the show with their pleasing musical backing. While the narration proves to be a useful tool for the audience to understand the theme, it could only be replaced in the beginning. Providing clarification interrupts the flow of the singing while the piece is still being performed. However, Deepa must be commended for her stamina as she never stepped off the stage during the ninety minute performance.
Even though the story was made admirably, the ‘mayal’ theme is too much explored, especially using Krishna. Given that the idea of the performance was to question societal expectations of love, one couldn’t help but feel that the dancer played it safe by sticking to the divine-soul trope that is often seen in . Perhaps in the next edition of ‘Mayyal’, Deepa can delve into other narratives associated with this loaded Tamil word.