Sirikakolanu Chinnadi : A Vision of Veturi and K Viswanath Realised on Stage by Bharatanatyam Dance Guru Smitha Madhav

Smitha Madhav on Reviving Veturi’s Creation Vision Through Dance: ‘Sirikakolanu Chinnadi is an Offering, Not Just a Performance”

Bharatanatyam artist Smitha Madhav brings Veturi Sundara Ramamurthy’s dance drama from 1969  – Sirikakolanu Chinnadi – to stage as a dance-theatre production on June 26 at Ravindra Bharathi. The dance drama in its abridged version was aired at All India Radio. Sirikakoanu Chinnadi was something erstwhile director K Viswanath dreamed of adapting into a film. And he is the one who guided Smitha Madhav to take it to stage!!

In a heartfelt tribute to a visionary collaboration that never came to fruition, Dr. Smitha Madhav brings to life Sirikakolanu Chinnadi, a lyrical, layered work originally written in 1969 by acclaimed poet and playwright Sri Veturi Sundararama Murthy. The dance ballet, presented by Varna Arts Academy and team and featuring guest artist Hari Mangalampally, is set to premiere at Ravindra Bharathi with a cast of 40 dancers.

The idea was first seeded during a casual visit in 2019 to the legendary filmmaker Kala Tapasvi K. Viswanath Garu, a longtime associate of Veturi. “He just mentioned this story casually, and then showed me his handwritten notes. I was blown away. That was the beginning,” shares Smitha. “Viswanath Garu had always wanted to turn this into a film. Sadly, that never happened. But I feel honoured to interpret this vision through dance.”

Originally aired as a radio musical by All India Radio Vijayawada in 1973, Sirikakolanu Chinnadi features music by legends like Pendyala Nageswara Rao and vocals by stalwarts including Voleti Venkateswarulu and Srirangam Gopala Ratnam. Set in the Krishna river town of Sirikakulam near Vijayawada — and revolving around the grand temple of Andhra Mahavishnu — the story follows Aliveni, a devadasi whose devotion to art and the divine makes her both revered and vulnerable.

Bringing the grand spectacle – story of devadasi Aliveni to stage 

“The character of Aliveni stood out for me — her unwavering love for Krishna, the dignity of her art, and the tragedy of how society viewed her. The story weaves between spiritual yearning and human fragility,” says Smitha.

Bringing the production to life, however, came with its share of challenges. “It’s not just a dance performance — it’s intensely theatrical. A lot of prose, subtle expressions, and emotional weight. We had to train dancers to be actors. And finding the right person for Marthanda Sharma — a complex character with grey shades — was not easy. I’m glad Hari Mangalampally came on board. He brings maturity and depth.”

Despite the COVID-induced delays in the initial years when she first began to work on it, Smitha was determined to stay true to Veturi’s original script, albeit the abridged Aii India Radio version. In the original Veturi had adapted verses and songs from various sources in his narrative. He incorporated songs by Annamacharya, Jayadeva, and Narayana Theertha — all chosen by the poet himself in his full-length version, which she eventually sourced through rare books and AIR archives.

“What moved me was how Veturi Garu blurred the line between devotion and questioning, art and exploitation. It’s a powerful message even today,” she reflects. While directing and choreographing the dance drama – “Viswanath Garu’s presence was always in my mind — his aesthetics, his gentle intensity, his grace in showing even the harshest realities with beauty.”

Dr. Smitha Madhav hopes audiences will put their phones aside and immerse themselves in the experience. “The second half is especially emotional. The music, the mime, the silences — they all demand presence.”

With its mix of Bharatanatyam, drama, literature, and timeless questions, Sirikakolanu Chinnadi promises to be more than just a performance — it’s an offering, a conversation, and a long-overdue realisation of a masterful collaboration between Veturi and Viswanath, envisioned now through Smitha’s dedication.

40 Artists, 90 Minutes, and a Vision Honouring Aesthetics

Smitha is clear: this isn’t just a Bharatanatyam recital.

“It’s theatre. There’s mime, emotion, expression, silence. Even though it’s a group of trained dancers, I had to train everyone to become actors. Understanding the chasteTelugu dialogue was essential. The lyrics, the sahityam — they set the tone for what can and cannot be expressed.”

One of her biggest challenges? “Finding my Marthanda Sharma. I needed a male dancer who could match me in presence, maturity, and be able to portray that complex character with refinement.”

She found that in Hari Mangalampally, a guest artist for this production. “He brought the right energy and depth. He plays both Sri Krishna and the worldly antagonist — dual shades that demands immense range.”

A Tribute to Celebrated Director Viswanath Garu

The production, while rooted in the aesthetics of classical dance, also bears the invisible hand of K. Viswanath.

“His presence was always with me — his grace, his storytelling style. Even without trying, his sensibilities guided the tone — especially how even difficult truths are portrayed with dignity and beauty.”

As the production readies to premiere, Smitha has one heartfelt request for the audience: please put away your phones.

“The second half is especially delicate. There’s so much being said without words. We hope people respect the mood and stay present.”

‘Sirikakolanu Chinnadi is ultimately a tale of hope’

For Smitha, this isn’t just another production — it’s a responsibility and a homage.

“This is a story that shows how societies both venerate and exploit. But it also shows that redemption is possible. That justice, even if fragile, is worth striving for.”

With Sirikakolanu Chinnadi, she brings not just a forgotten radio drama to life — but also gives audiences a chance to reflect, rejoice, and reclaim the richness of Telugu classical storytelling.