Sruthi UK, a distinguished non-profit organisation, has successfully concluded its 20th annual day, a vibrant celebration of Kerala’s rich art, culture, and literature. The event took place at the Queen Margaret’s School for Girls in York on the 6th of April.
Established in 2005 by a group of passionate individuals from Kerala residing in the UK, Sruthi has been actively promoting Kerala’s artistic and literary heritage among the Malayali diaspora in the United Kingdom. Over the years, Sruthi’s annual events have evolved in both quality and popularity, drawing enthusiasts from diverse ethnic backgrounds.
This year’s annual day featured notable guests including music director Sri Vidyadharan Master and theatre artist Sri Gireesh Sopanam. Vidyadharan Master commended Sruthi members for their passion for arts, while Gireesh Sopanam delivered a captivating solo theatre performance titled ‘Antharyami,’ directed by Sri Kavalam Narayana Panicker.
Smritilahari – സ് മൃതിലഹരി
Smritilahari provided a prelude to our 20th, featuring a dance rendition of our Sruthi invocation penned by ONV Kurup and composed by K P Udayabhabu. Choreographed by Deepthi Binuraj, the youthful talents of Sruthi danced with elegance and expressive flair, setting the perfect tone for the event.
Compères: Sruthi youth members from across the country compered in English and Malayalam nt from start to end.
Bharathanatyam Kacheri (3 pieces)
ലഘു ഭരതനാട്യ കച്ചേരി
Bharatanatyam by Amritha Jayakrishnan, close on the heels of her Soorya festival stage and South Indian dance tour, was an enchanting journey. With “Amrithavarshini,” her graceful abhinaya skills took us to a realm of sublime elegance and devotion. As the tale of “Jagadhodharana” unfolded, Amritha’s artistry seamlessly transitioned between characters and emotions. The vibrant rendition of the ‘Kadanakoothuhala’ thillana showcased her mastery of intricate footwork and rhythmic patterns. Sruthi is proud to see our young member transform as a dancer scaling new heights.
Kalpantha Kaltholam – Vidyadharan Master Interaction
Words fall short to describe ‘Kalpantha Kalam, the segment with Vidyadharan Master. The familiarity with and admiration of his work for the audience, his warm personality and the ability to relate a story added flavour to the sweet rendition of popular songs, poetry and bhajans. Beyond the celebrity status and artistic brilliance, Master’s humility and character shone through. Kishore Chandran and Savitha Menon facilitated the conversation. The show ended with a standing ovation for the Master and shouts of encore.
Bhavaragam ഭാവരാഗം
Kishore Chandran led Bhavaraagam linked Ragams with Bhaavams. Sruthi singers and instrumentalists took the audience on an endearing journey of popular film songs woven seamlessly through common ragams. Sruthi young and budding musicians started the segment, before the elders rendered 4 songs assigned to each ragam – Ahir Bhairav, Pahadi, Darbari Kanada, Sindhu Bhairavi and Abheri. The session culminated in a Thaniyavarthanam.
Trishanku Lounge
The fully in-house theatre production of Sruthi, Trishanku Lounge was directed by Neeraj Cherukunnathu and scripted by the team. The curated backdrops, props, costumes, lighting and background score accentuated the stellar performances of Sruthi member cast of all ages starting at 5. The fantastical plot was a humorous take on human desire for immortality and migration to a dream world with allusions to the UK immigrant landscape. Gireesh Sopanam commented on the professionalism, lauded the execution and the comic undertone that held its own.
നാട്യഹാരം Naatyaharam
Naatyaharam, a series of dance performances choreographed by Breeze George, immersed into Vidyadharan Master’s masterpieces. Starting with Breeze’s captivating solo piece, skilfully interpreting the lyrics with trademark expressions and grace, the group danced to Master’s devotional “Jaya Jaya Jayabhaarathi.” A succession of Master’s classics including Nrityathi followed, each accentuating lyrics, melody, and nrithya. Master had a special word for the team on song selection, edit and execution.
അന്തര്യാമി
Gireesh Sopanam’s four decades of acting virtuosity were palpable when he performed Kavalam’s last written play ‘Antharyami’ on Sruthi stage. The script comprised selected jewels from Tagore’s short poems and Gitanjali, excerpts from Raja and other plays. The vocal rendition of the play was in 4 languages – Sanskrit, Malayalam, Hindi and English. The 45 minute performance to a recorded audio score transcended time, space and characters betraying the well honed skills of Gireesh Sopanam, the acclaimed thespian. His repertoire merged Kavalam’s brilliant theatre conception and Tagore’s poetic philosophy on stage – a Sruthi, UK first.
ഭരതവാക്യം Curtain Call
The curtain call was a moment to acknowledge the dedication of the individuals that played a role, big or small – from the entertaining performers to organisers. The applause that resonated through Queen Margaret’s was a testament to the collective spirit that underpins the success of Sruthi.
Meet the Guest
On Sunday the 7th, about 120 attendees reconvened to informally meet the chief guests at the venue parish hall. Two hours of artistic richness and ‘sahrudaya’ interaction ensued.
Vidyadharan Master started from where he left off the previous night, delving into more popular creations of his. Master related stories on their creation before singing ‘Chanadam Mankkunna’, ‘ Manjin Vilolamam’ etc. The highlight of the hour was his live composition of Sruthi’s Joji Kuriakose’s lines ‘Virahathin Thoramazha’. Master then instructed our young and prodigious singer Jiya Harikumar who pitched it to his liking – no mean feat. The attendees lapped up the rare privilege to their heart’s content.
The second hour transported us to the sublime heights of Malayalam and Indian theatre. Gireesh Sopanam enacted select scenes from seminal Kavalam plays. He transformed into Surya & Karnan (entry and the famed gifting in Karnabharam), Chakyar (Ottayan), Duryodhanan (Urubhangam) & narrator in ‘Himalayan’(Ayyappa Panikker). He interacted with the attendees on Sopanam theatre methods for voice control, body movements, use of costumes and rehearsals. This was before participants conversed over lunch and trundled off to various parts of the island for a working week and term holidays.
