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GoBrahma Productions and Prabhath Kalavidaru are all set to stage Shree Rama Prateeksha, directed by TG Venkateshachar this weekend. This production chooses to look beyond the central hero, turning the spotlight on the faith and devotion of those whose lives were transformed by him. Based on maharishi Valmiki’s Ramayana, the dance production traces key moments from Rama’s journey, beginning with his protection of maharishi Vishwamitra’s sacred rituals, through his years of exile and culminating in the battle against Ravana, while reflecting on the enduring ideals of righteousness, compassion and dharma.
Alongside Rama’s story, the production honours the unwavering devotion of Ahalya, Sita, Sugreeva, Hanuman, Bharata and the people of Ayodhya, offering a perspective that has resonated with audiences across the world. Since its premiere in 1988, Shree Rama Prateeksha has travelled extensively, with more than 500 performances over nearly four decades, continuing to bring Valmiki’s timeless epic to the stage through music, movement and storytelling. We speak to the director ahead of their Bengaluru staging to learn more about it.
Shree Rama Prateeksha has been on stage since 1988. What has helped it remain relevant and continue connecting with audiences for almost four decades?
The values at the heart of the Ramayana are timeless. Scenes like Lord Rama’s willingness to accept exile, Bharata’s refusal to occupy the throne as its rightful king, Sita’s courage, Hanuman’s unwavering devotion and the sacrifices of the people around Rama continue to move audiences. Shree Rama Prateeksha presents these values not just as ideals, but as deep human relationships and emotional choices. The production, while preserving its original soul, music and choreographic vision, continues to refine its staging and presentation for contemporary audiences. That emotional universality has sustained the production since 1988.
Instead of focusing only on Lord Rama, the ballet also highlights the devotion of others. Why was it important to tell the story through their perspectives?
The greatness of Lord Rama is revealed not only through his own actions, but also through the transformation he brings about in the lives of others. Ahalya experiences compassion and liberation. Sita represents courage and dignity. Bharata demonstrates that true devotion is not about possessing power but renouncing it. Sugreeva finds friendship and justice. Hanuman represents complete surrender through action, intelligence, strength and humility. Each character has a distinct relationship with him and each expresses bhakti differently. The Ramayana is so vast that presenting every episode within a stage production would be impossible. Our selection was therefore guided by the central idea of Prateeksha and by the emotional journey we wanted the audience to experience. Sita’s captivity creates the emotional centre of longing and faith, while the battle with Ravana represents the final confrontation between dharma and adharma.
Can you tell us about the various classical dance forms used in the production?
We have used different Indian classical dance forms like bharatanatiyam, kuchipudi, kathakali and Indian folk forms, particularly through the use of abhinaya, mudras and rhythmic movement. At the same time, Shree Rama Prateeksha is a dance drama rather than a conventional classical recital. The choreography by Udupi Lakshminarayanacharya and Hema Prabhath brings together classical discipline, theatrical storytelling, group formations and movement suited to large dramatic situations. Pandit Vijaya Raghava Rao’s music is the emotional and narrative backbone of the production. It does not merely accompany the choreography; it creates the atmosphere, defines the characters and carries the audience from one emotional world to another.
Has Shree Rama Prateeksha changed over the years, either in choreography, music, stage design or interpretation?
The essential structure, musical foundation and philosophical intention of the production has been carefully preserved. However, a stage production must respond to changing performance spaces, technology and audience expectations. Over the years, we have refined scene transitions, group movements, lighting, costumes, properties and visual presentation. Technical developments have enabled us to create forests, palaces, Ashoka Vana and the battlefield of Lanka with much greater scale and atmosphere now.
What was the thought process behind designing the costumes for the various characters and how do they reflect their personalities and journeys?
The costumes must establish the identity of each character instantly. Our approach balances traditional Indian style, theatrical visibility and the practical requirements of dance. Lord Rama’s costume reflects dignity, restraint and inner strength. Even when he is a prince, his appearance is not excessively ornamental. During his exile, the colours and materials become simpler, indicating his transition from royal life to the forest. Sita’s costumes convey grace, purity and quiet strength. Bharata’s appearance reflects renunciation and austerity. Hanuman’s costume must communicate energ y, devotion and heroic strength while enabling vigorous movement. Ravana requires grandeur, authority and visual complexity, but his costume must also suggest pride and excess.
₹499 onwards. July 18, 7 pm. At Chowdiah Memorial Hall, Vyalikaval.
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