Source: The Hindu; Author: Ranee Kumar

Moulding the Krishna Ashtakam (108 names in praise of Lord Krishna) to depict four events of the Bhaghavatam was a well-conceived leitmotif which also depicted the four rasas (artistic moods) of vatsalya (Shringara), bheebatsa, veera and shantha (universal peace). Senior dancer Rajeswari Sainath, as vigorous as ever with her numeric and nritta, displayed another aspect, in keeping with her maturity as an artist. And this was her abhinaya. She put her best to the fore be it in nurturing little Krishna as foster mother Yashoda (to the first few lines of the ashtakam) with emphasis on adorning the little one with choicest jewellery from top to toe and the maternal love of viewing her child contently, the hide-and-seek game; the vile makeover of the demonic Poothana into a seemingly guileless surrogate mother and the petrified after-effect of being bitten to pain and death by the suckling baby Krishna; the tumultuous, all-consuming torrential rain that wreaks havoc on Gokula’s human and animal life, were well-depicted creating an effect to that extent with proper lighting too, extol Rajeswari’s dexterity of dealing with multi-various responses and feelings.

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Rajeswari Sainath and troupe