April 1, 8 pm at
Peter Norton Symphony Space
2537 Broadway, NY

From a premier Kathakali insitution in Kerala, dancers will perform the story of King Nala (from the Mahabharat).

For more info, call 212 545-7536.

More information about WMI's kathakali program here

Chakori,

The information I have doesn't mention the artists' names. What it said was that the troupe's master dancers would perform dances in their respective fields: Kathakali, Kalamadalam, Sadanam, Kottakal, and Margi, and that Nala Charitnam (the work they are expected to perform) is written by Unnayi Warrier (1675-1716).

An abbreviated version Nalacharitham was presented on Friday at the Symphony Space in New York City. This choreographed performance was very different form the traditional Nalacharitham performance staged over a period of four nights at Kerala temples. At two and a half hours of playing time, plus a fifteen-minute interval, this offering by a group of accomplished actors, musicians and percussion artists was very well received by an audience of predominantly Americans. And for those of us who could get to grips with the presentation of complex themes and images from Hindu mythology it was exquisite.

The artists came from the most prestigious institutes of Kathakali - Kalamandalam, Sadanam, Margi and Kottakal. Margi Vijayakumar’s portrayal Damayanti and Kottakkal Chandrasekhara Warrier’s portryal of King Nala deserve special mention. Margi Raveendran’s portrayed both Sakhi and Saraswathi, while the Hamsa was portrayed by Sadanam Krishnankutty. Kavungal Divakara Panicker’s Indra had only a very minor role in this abbreviated version. The renowned Kathakali musician Kalamandalam Hyder Ali’s melodious rendering of padams was well accompanied by young talented singer Kalanilayam Rajeevan. Veteran Kathakali percussion artists Kalamandalam Raman Namboothiri (chenda) and Kalamandalam Narayanan Kutty (maddalam) together gave a stellar performance.

Kathakali differs from other classical South Asian dance styles; Kathakali performers are known as actors, not dancers, and their performances are seen as plays. Kathakali theatre primarily depends upon highly evolved languages of abhinaya and gesture to convey the characters' words and feelings. Each scene is accompanied by musicians narrating the story. However, the fluidity of structure and narrating styles allows an open interpretation, and musicians can extend any part of the story that they see fit, thus enhancing the spontaneity of form and content.

The beauty and precision of individual performances achieved through long rigorous training, shine against a backdrop of simple staging and few props. Unfortunately New York City fire code restrictions did not allow lighting of the bronze oil lamp, the classic centerpiece of the Kathakali stage. Prior to the performance, the audience was briefed on the story of Nalacharitam. A better explanation would have been about the story of individual scenes, abhinaya, music and gestures of Kathakali. This would have enabled them to comprehend each of the characters and their importance in the presentation. For a mostly western audience watching a production such as this without being able to interpret the complexities of this art form may have seemed like listening to a play in a language one cannot speak.