1.Agre Pshayami

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2.Praise Of Seven Hills

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3. Nandalala

The penultimate avatar of the reclining Lord Maha Vishnu is adored and celebrated by poets and devotees across varied languages and cultures. He is the apple of the eye, of ancient composers like Purandara Dasa, Annamacharya, Surdas, Meera, Narayana Theerthar, Jayadeva, Ashtapathis,Oothukadu Venkatasubaiyar, and many more.This thematic dance performance –‘Nandalala’ vows to bring to its audience the splendour of this ever charming ‘Night-hued’ Lord through the mellifluous compositions of these legends along with those penned by current day Vidwans like Sri Neyveli Santhanagopalan and PR Venkatasubramanian.

This multilingual performance will chronicle Lord Krishna’s life. Re-told through dance and music, the stories of, Kaliya Nardhanam, Govindha Patabhishekam (Crowning of Govinda), Raas Leela, Kamsa Vadham (Killing of Kamsa) and Geethopadesham will be performed – in each of these highly trying circumstances he has emerged victorious with an ever-playful smile.

4.Shree Bala Tirupurasundari

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5.Vijayathe Gopala

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6. Vana Virata Vijayam

Striking choreography by Smt. Anitha Guha, mellifluous music by Sri. Neiyveli Santhanagopalan coupled with exceptional lyrics by Sri. Neiyveli Santhanagopalan and Sri. P.R. Venkatasubramanium makes this production a must watch. The production opens with the Pancha Pandavas and Draupadi embarking on their 13 year exile (Vana Parvam) and finishes with the final year of exile which the pandavas spend incognito (Virata Parvam).

The production is slotted to be presented at the Music and Dance Season 2014 -2015. It was also presented in USA in April 2014 for ‘Cleveland Thyagaraja Festival’ as part of the Mahabharatha series choreographed by veterans like Prof. C.V Chandrasekar, Pandit. Briju Maharaj, Smt. Savithri Jagannatha Rao etc.

7. Parishvanga Pattabishekam

Originally choreographed for the ‘Cleveland Thyagaraja Festival’ in April 2011, ‘Parishvanga Pattabishekam’ enumerates episodes from Kishkintha and Sundara Kandam of Ramayana. Items from the margam have been incorporated as narrative sequences without allowing it to compromise on the style or take away its dramatic value.

The entire production is completely based on the Valmiki Ramayanam which has ample scope to bring out all the vrittis explained in the Natyasastra.Two prime features of this production are its outstanding music by Sri. Neiyveli Santhanagopalan and innovative Choreography by Guru. Smt. Anitha Guha that literally transports one to the Thretha Yuga. For example, while depicting the Asuras in Lanka, we have used a ‘Mallari’ style which is used in processions of Gods, but with a humorous twist to caricature Asuras and their weirdness. Also, while the Vanara clan resounds with joy and celebration on the happy occasion of Sugreeva’s Pattabishekam, a thillana in ‘Kadhanakudhugalam’ unfolds. The hasthas and movements have been choreographed to typically suit the behaviour of the festive vanaras.

8. Pada Kavitha Pitaamaha

Inspired by the book “Flowers At his Feet”, this production on the work of Saint Annamacharya was first premiered in the year 2008. The dance drama was welcomed by the audience with full houses in all shows during the December season. The sabhas were so full that projectors had to be put up outside each venue to accommodate all the rasikas.

Beautifully moving across Saint Annamacharya’s compositions relating them to each stage of his life, the nrithyanatakam brings to life grand scenes like the Brahmotsavam showcasing the divine Venkatachalapathy in his various forms. Other highlights are Ashtalakshmi and Navaratna Krishna and the depiction of the seven hills. It also showcases ‘gobillu changubala’ integrating folk under the realm of classicism.

9. Koodiyirundhu Kulirndhelor Empaavai

It is an aesthetic production woven together with the paasurams of the Thiruppavai. Steeped in bhakthi, the production has been targeted to emphasize on the deeper implications of ‘Thiruppavai’ and not merely its literal meaning. With the help of resource person Dr.Anantha Padmanabhachariar,interesting interpretations beyond popular perception have been drawn.

For example, in the paasuram ‘Ongi Ulagalandha’ instead of depicting just the vamana avatara vishwaroopam, the Gitopadesam vishwaroopam is also shown simultaneously. In ‘Pullin Vai Keendanai’, that indicates the killing of Bakasura and Ravana, Hiranyakashapu vadham is also included owing to the usage of words – ‘Killi Kalaindaanai’.

10. Ramyam Hitham Natyam (2004)

This production was formulated on the concept that ‘dance can convey many morals’– To elaborate this concept, Vishnu’s incarnation as mohini to kill bhasmasura (Destruction), Iyyappan dancing in kaalayakatti after killing mahishasura (Triumph over evil), Arjuna in the form of Brigannala (To live in disguise), Kalinga Narthanam (Challenge) are presented.

It is believed that all gods are assembled in heaven to witness the Sandhya Thandavam of Shiva and his consort Parvathi during pradosham. It is said that they dance joyously in between the two horns of nandi. The apsaras known for their beauty and lasyam weave the story together as the narrators. Lyrics and Music have been composed by Sri.P.R Venkatasubramanium.

11. Sada Venkatesam Smaraami Smaraami

The dance-drama revolves around the love story of Padmavathy Thaayar and Lord Venkatachalapathy which culminates in their extravagant wedding. This production has pioneered in the usage of traditional arts like Bommai Kalyanam and Pinnal Kolattam while journeying across the various stages of Padmavathy’s childhood. The highpoints of this production are its grandeur and divinity. Lyrics and Music are by Sri. P.R Venkatasubramanium.

12. Mahadevam Mahasenam Bhaje

Set with the backdrop of mount Kailasa, the production opens with Dakshayini requesting Shiva to attend her estranged father’s yaagam. After her tragic death owing to her humiliation at the yaagam, infuriated Shiva executes her father. The story moves on to his marriage with Parvathy and the birth of Muruga. The 90 minute production concludes with Soorapadman vadam by Muruga.

The union of Shiva and Parvathy is marked by an exclusive and unique ‘Ardhanari’ sequence with two dancers sharing every dance movement in perfect synchronisation. Initially choreographed and presented in 2002, It was staged again in 2010. The brilliant music for this production had been composed by Sri. P.R Venkatasubramanium, whose contribution to this production and almost every other production is indispensable.