It is based on Valmiki’s Ramayana – one of the oldest Indian epics retold through the ages and brought to you here, on this stage. The Exiled King begins with Rama’s birth as a result of the yagna or sacrificial fire conducted by King Dasharatha and his three wives – Kausalya, Kaikeyi and Sumitra. The birth of the 4 young princes brings joy unbound to the kingdom of Ayodhya. As a young man, Rama and his brother take tutelage under Sage Vishwamitra and follow him into the forest to safeguard his Vedic rituals against powerful Rakshasas or demons. With the successful completion of the ritual, they travel to the kingdom of Mithila to
view and pay respect to the auspicious bow of Shiva that was being worshipped in the palace of King Janaka. En route, at the hermitage of Sage Gautama – Rama, an avatar of Vishnu, redeems Ahalya from her husband’s curse, returning her to her eternal form. At the court of King Janaka, where many mighty and powerful kings including Ravana are humiliated by defeat, Rama gallantly not only lifts but successfully strings Shiva’s bow, thereby winning Seetha’s hand in marriage. While the whole kingdom including King Dasharata is eagerly awaiting Rama’s arrival and subsequent Coronation, he is agonizingly exiled for 14 years at the behest of Kaikeyi who wants her son Bharata to be crowned prince instead. Rama, Seetha and Lakshmana leave Ayodhya and settle down to a new life in the Dandaka forest. It is here that Ravana’s sister Surpanakha, enamored by Rama, tries to seduce him.
Rama refuses her on account of already being married and suggests she approach Lakshmana. Lakshmana reacts by slicing Surpanakha’s nose in rage, setting the stage for a revenge drama. Ravana in turn retorts by abducting Seetha. Watch how Rama and Lakshmana, with the help of Hanuman and the monkey army, kill Ravana the great King of Lanka and ultimately rescue Seetha. It is the forever story of Good prevailing over Evil.

Music Composer and Singer: Vidwan Shri Balasubramanya Sharma.

Choreography: Vidushi Megha P Rao.

The Ardhanarishvara is a composite androgynous form of the Hindu deities Shiva and Parvati (the latter being known as Devi, Shakti and Uma). Ardhanarishvara represents the synthesis of masculine – Purusha and feminine – Prakriti energies of the universe
and illustrates how Shakti, the female principle of God, is inseparable from Shiva, the male principle of God, and vice versa. The union of these principles is exalted as the root and womb of all creation. The right half is usually the male Shiva, illustrating his traditional attributes and the left half is the female, illustrating the feminine attributes. “Ardhanaree” comprises of five pieces –  ardhanareeshwara Krithi, Nandhi Alarippu, Varnam, Ganesha Pancharatnam and Thillana.

Concept & Choreography: Vidushi Megha P Rao

A Margam is a full repertoire in Bharatanatyam. Usually starting with a Pushpanjali or an Invocatory piece ending with a Thillana and the Mangalam. The dancer has significant
discretion in planning the dance items within the Margam to suit its overall theme. For Navarasa Margam, Vidushi Megha P Rao has uniquely conceptualized and choreographed pieces to showcase the 9 emotions through various stories and songs.
Rasas represent the intangible emotion a visual, literary, or musical work evokes in the audience. NAVARASAS are the nine emotions – Sringara or Love, Haasya or Laughter, Karuna or Pity, Roudhra or Anger, Veera or Velour, Bhayanaka or Fear, Bheebathsa or Disgust, Adbhutha or Astonishment and Shantha or Peace. The first piece of the Margam is Navarasa Swaraguccha, where the different emotions of Devi in different scenarios are depicted. Next is a Devaranama for Haasya and a Padam for Roudhra. The Varnam amalgamates Veera, Bhayanaka, Bheebathsya, and Adbutha. She has included an Ashtapadi for Sringara and a Keerthana for Karuna. And the final piece is Thillana
followed by Mangalam.
Choreography: Vidushi Megha P Rao
Music:Vidwan Shri Balasubramanya Sharma.