By BERNADETTE RAE
Vivek Kinra, virtuoso exponent of the classical Indian dance form Bharata Natyam, is a scintillating artist with an international reputation.
He is now based in Wellington, and the graduates of his dance school have begun to join him in his annual performances as the Mudra Dance Company.
In the dance-drama
that forms the second half of Krishna: The Divine Lover, the varying confidence of the dancers in "character" roles contrasts sharply with Kinra's performance. Two of the roles, besides that of Krishna, which is of course performed by Kinra, are for males.
Despite a well-drawn moustache and wig Vanita Parbhu remains a delicate figure as Rukni, the dastardly brother in the piece, and far too easily overcome in the duel with Lord Krishna.
And Dixita Parmar projects such serene bonhomie as the trustworthy Brahmin that he appears too gentlemanly.
Jayshrika Patel, by contrast, is a convincing Rukmini, who matches her guru in spirit, passion and artistic style.
No one would deny the exotic beauty and charm of the Mudra Dance Company, and the level of complex emotion and philosophical thought that they magically communicate through the exquisite placement of fingers, the wide and wonderful rolling of expressive eyes, and the compelling percussive tales of those Bharata Natyam feet.
Add the swirl of brilliant sari colours, traditional headdresses of braids and flowers, and the sparkle of gorgeous jewellery, and Kinra could almost be outshone by his proteges. He sports the odd diamond ear stud and more than a modicum of gold himself, but it is not the accessories that give him his star rating.
When it comes to passionate nuance, projected clear to the back of the theatre, an elegance of stillness and line, all punctuated with athletic feats of sheer power, turnout and speed, Kinra remains the master, firmly in control.
