Adishthya performing in Sangeet Academy. Photo Credit: K. Pitchhumani

Adithya PV is a well -respected Bharatanatyam dancer who has studied under Lata Edwalath and Sandhya and Kiran. He also guides the experienced dancer Sudhini Raghupati. He is the artistic director of Upadya School of Dance. Adethya has a clear lines, great agility and an accurate style for their advas. There is also a notable subtlety in his acting.

In the initial salute during his performance at the Sangeet Academy Dance Festival, Adithya warns Ganesh not to eat too much. In ‘Siddhi Vinayakam’ (Mohana Kalyani, etc., Hariyikashnallur Muthia Bhagwatar) and in other offerings, he belonged to the gods on a personal note, because he instigated Ganesha to take care of him.

Adithya was supported by a strong orchestra, with the sweet voice of Srikanth Gopalakrishnan, Veena of Anjani Srinivasan and Nattuvangam of Parswana Upadhyay with Mahesh Swami’s flute and Mridagam of Harsha Samaga.

Adethya continued with ‘Samini Ramnav Sakhiyaro’ in a pleasant silence, by Pennih Pillai of Thanjavur Quartet. It is a poem of Bhakti-Shreeringra, praise, Viraha and longing to Brehadeshwar, in which the heroine tells her friend about her feelings. There was no exaggeration, just a good act.

Adithya Upadhyay is the artistic director of the School of Dance. Photo Credit: K. Pitchhumani

Adithya was also under control in the Narta parts – the right time, good Aramandi and Kudichi Mettu Adavas, but were allowed down by Ajhutham. It became better in the second half, stamming and well anchored steps. In the end Sakhi comes out, the heroine observed her every step.

Gopalakrishna is not able to see Shiva in India’s ‘Nandanar Charitham’, the deprived devotee Tirupungur. He cries when he sees Nandi that he blocks the path of his vision, ‘Wazi Marathirukkud’. Took, Prabhu asked Nandi to go to ‘Sishere Wilgi’ (Purvikalini, Roopakam). The conversation between Shiva and Duling bulls was effectively caught; The rest of the depth could have been high.

Adithya ended with a pahdi thailana (Mishra Chapu, Lalguri Jayaraman), with vigilant rhythm-keeper with changes in speed, showing the time and agility of the dancer. Footwork was good, music exaggeration. Everything came together, because the last jump of Adithya in a Muzu Mandi made him a picture-ended.