Revisiting ‘Naachiyar Next’: Making Andal resonate with a contemporary audience

More than two decades after it premiered, Anita Ratnam’s ‘Naachiyar Next’ continues to resonate with audiences across the globe. The production’s ability to reinvent itself for new generations reflected in the presence of many youngsters at its recent performance on the 26th day of Margazhi at Chennai’s Museum Theatre. The fact that several audience members returned for repeat viewings underlines its enduring appeal and why it merits not merely a review but a reassessment. And, this makes it a compelling work in the current Indian dance landscape. 

There was never a dull moment in a production that delves into the inner world of Andal — the 12‑year‑old saint-poet who forges a passionate bond with Krishna, expressing both her emotional and physical states in devotion. The theme itself is not unusual. Anita is not the first dancer to explore Andal’s story, a connection she developed early on when, at the age of nine, she had to practise a piece on Andal for her arangetram. Rooted in scripture and imbued with a Vaishnavite ethos, including the ritual of Arayar Sevai (done beautifully by Madhusudan Kalaichelvan), ‘Naachiyar Next’, nevertheless, carried a contemporary sensibility. Andal was portrayed less as a distant goddess and more as a woman, and this humanising of divinity made the work heartwarming.

Props such as the parrot were an integral part of the storytelling.
| Photo Credit:
Adithya Narayanan

Thematic group productions may be popular in classical dance today, but presenting a truly slick and well‑rounded work demands a holistic understanding of both the subject and the art. It requires drawing upon the creative resources an artiste has absorbed over the years. In this respect, Anita is fortunate to belong to a generation that witnessed the brilliance of Rukmini Devi, Chandralekha, Yamini Krishnamurthy, Balasaraswati, Ram Gopal and Uday Shankar — each leaving an indelible mark on different facets of dance. That inspiration, often unconsciously, finds expression in ‘Naachiyar Next’, where every element — costume, music, lighting, props, abhinaya, nritta and narration — comes together impeccably.

Each element of the production deserves close attention. Take the costume, for instance: designed by Sandhya Raman, the use of Madurai’s iconic sungudi saris beautifully anchored the work both socially (Andal belonged to a poor Brahmin family) and culturally (she grew up in Srivilliputhur near Madurai). Conventional Bharatanatyam accessories were deliberately done away with, instead simple beads lent freshness to the visual aesthetic.

The music, too, warrants special mention. Live accompaniment always lends an edge to a dance production, and here the all‑women ensemble — vocalist, nattuvangam artiste, veena player, and multi‑percussionist — was not only excellent but also made a presence in coordinated attire. The score evoked the milieu of Andal’s era, consistently supporting the narrative without ever overwhelming it.

The scene were Andal merges with Ranganatha was visualised wonderfully.
| Photo Credit:
Adithya Narayanan

Props, though common in dance, were employed effectively. They were woven seamlessly into the storytelling. The parrot, the thirai seelai, the sacred garland, the conch and the Srirangam lord depicted through a fabric bearing a namam, shankh, chakra and padam were integral symbols.

The production may be heavy on narration, yet expression and movement were equally compelling. The five well‑trained dancers conveyed the emotions demanded by each scene with conviction. Andal, in particular, stole the show with her helplessness: Nandhini Subbulakshmi, earnestness, and vulnerability — making her an apt choice for the role. The jatis were clear, sharp and striking, while the group patterns displayed firm footwork and precise gestures. The production showcased its fidelity to classical roots while opening itself to contemporary expression.   

  It is rare to see sutradhars carry a production on their shoulders, but Anita did just that. Her years in New York as a television producer and host/anchor came through in her flawless narration, delivered in both English and Tamil and interspersed with the singing of pasurams rendered with perfect intonation. It also reflected her long engagement with dance on her own terms — never abandoning its core, yet constantly seeking ways to make it relate to changing times. In that balance lies the true strength of ‘Naachiyar Next’.