By Vaidehi C

Bharathanjali Trust and Anitha Guha’s Bharathanjali presented Mahadevam Mahasenam Bhaje, a yet another successful show in Bharatiya Vidya Bhavan. Time and again, this troupe has achieved what few can, especially during the Margazhi season in Chennai where every auditorium overflows with programmes. When every seat is filled, the performance begins with energy already in the air; the anticipation is less and one can consider it a ‘success’ right at the beginning. Conceived, choreographed and staged by Anitha Guha’s team 24 years ago, the production was back to the stage by a new generation of dancers, for a new generation of rasikas. Narrations by Revathi Sankaran and lyrics and music by P Venkatasubramaniam and lights by Iyappan of A4 medias made the production a power packed presentation.

The narrative unfolded with Dakshayani requesting Siva to attend Daksha’s yajna, an appeal he resolutely declines. Choosing to defy his counsel, Dakshayani proceeds to the sacrifice, where she is subjected to humiliation, culminating in her self-immolation in the sacred fire. The wrath of Siva gives rise to Veerabhadra and Bhadrakali. Sati is reborn as Parvati, the daughter of Himadri and the gods now seek to reunite Parvati and Siva. Manmatha is thus given the task of rekindling love in Parvati, setting in motion a profound sequence of events rendered with remarkable clarity and finesse through Anitha Guha’s choreography.

There were several moments of adrenaline rush. What topped was quite obvious. Anitha’s popular and riveting Ardhanareeswara sequence still stood tall and stole the show. Impeccable coordination and seamless nritta, Siva and Parvati dancing as one, embodying the divine union of masculine and feminine energies. Equally captivating was the birth of Muruga the six-faced son of Siva and Parvati. Six young children portrayed sheer hardwork and confidence depicting the six faces of Muruga. The final act, depicting Muruga’s encounter with Soorapadman and his victory generated palpable excitement in the auditorium, as the familiar triumph of good over evil unfolded with a release of collective emotion - echoing the cathartic joy audiences await.

Extensive props, elaborate makeup and evocative lighting left little room for ambiguity, aiding the audience grasp the narrative effortlessly and engage emotionally - much like cinematic storytelling, where visual cues reduce the need for cognitive decoding and enable immediate immersion.

This Siva-Parvati narrative, known in every detail and foreseen in its conclusion, continues to draw full houses - inviting reflection and thought whether it is the content, the calibre of the dancers, or the quality of grooming that sustains this enduring appeal! Perhaps it lies not in what is told, but in how and by whom it is told.

 (The author is a researcher and a teacher)