Mythili Prakash – She's Auspicious

Mythili Prakash’s She’s Auspicious: Brilliant, Bold, but Elusive

A bharatanatyam dancer from Chennai, with over 34 years of experience, and a Yorkshire-born Englishman with some knowledge of the art form, attended Mythili Prakash’s, She’s Auspicious, at Sadler’s Wells East. What has followed is an ongoing conversation—one that still hasn’t reached a conclusion.

Let’s get straight to the point. Mythili is a phenomenal dancer. The production was visually and sonically mesmerising, with meticulously arranged music, led by the powerful vocals of Roopa Mahadevan and co, and the brilliant percussion of Aswini Srinivasan. The supporting cast of co-dancers was exceptional, particularly in the climactic trance sequence, where lighting and set design worked in perfect harmony. The final moments, where the symbolic ‘temple’ broke down in a crescendo of sound before dissolving into silence, were especially striking—by then, Mythili had every audience member in the palm of her hand.

So why are we still discussing this performance?

For all its brilliance, we left the show uncertain about its intended narrative. The fluid transitions between songs, chants, and beats were beautifully composed, yet we struggled to grasp the overarching story. We understood the thematic exploration, possibly… maybe… maybe not—the parallels between a woman and an Aryan Hindu Goddess, the complexities of female identity within societal expectations, the struggles of motherhood and marriage—but the storytelling felt obscure and difficult to follow. The performance touched on various episodes: a shaken baby (we think and still couldn’t agree on whether it survived), the vanquishing of a demon, the aesthetic expectations placed on women, the privileged but struggling mother of two. However, these elements lacked a comprehensible, cohesive thread.

Neither the trained bharatanatyam dancer nor the discerning Yorkshireman could fully agree on what the show was trying to say. Perhaps Mythili intended to create a modern, abstract work that allows each viewer to find their own meaning. If her goal, however, was to tell a compelling, widely accessible story, the production needed dramatically more clarity. There’s nothing wrong with being an Ozu or a Spielberg, but this performance felt like it was striving for Spielberg’s narrative impact and ended up resembling Ozu’s enigmatic subtlety or maybe vice versa; I can’t tell. A brief prologue or a more detailed programme might have bridged this gap, helping the audience engage more deeply with the intended message.

A Thoughtful Critique for Future Growth

I now step into a more critical lens as an activist —this is not a list of “gotcha” moments, but rather a reflection on areas for potential development. Gender equality cannot be fully addressed without confronting caste inequalities—the two are deeply interlinked. Women occupy the lowest rungs of the caste hierarchy, which exacerbates gender-based violence, particularly against oppressed-caste women. Even women from Brahmin backgrounds only gained the right not to tonsure their heads upon widowhood due to anti-caste movements. It is essential, therefore, to acknowledge caste domination as a structural force in gender discrimination.

Mythili, who comes from a dominant caste background, has acknowledged her privilege, particularly within the Brahmin-dominated world of Bharatanatyam. One hopes this awareness will continue to shape her work in meaningful ways. Therefore, a few artistic choices merit reconsideration:

1. Representation of the Goddess – The depiction of a largely Aryan-centric Goddess (Mahishasura Mardhini), accompanied predominantly by Sanskrit hymns, may resonate with someone from Mythili’s background. However, for a representative sample of Tamils this might feel alienating—or even triggering. A broader selection of cultural and linguistic references could make the work more inclusive.
2. Narratives of Womanhood – The show’s portrayal of female identity seemed confined to marriage and motherhood struggles. While these are crucial aspects of some women’s lives, they are not the entirety of female experience. What about workplace oppression, caste and gender-based violence, literacy disparities, or systemic biases? Expanding the scope of women’s narratives would enrich the production’s impact.

Finally, a pet peeve of mine is that we stay true to the languages we use. The brahminised and mispronunciations by the singers could have been avoided.  

A Show of Immense Potential

Ultimately, I wanted to love this production. The music, the choreography, the production design and the mesmerising dance itself—all were executed with extraordinary skill. But I left feeling disconnected from the content. And I wasn’t alone. My Yorkshireman shared my uncertainty.

Perhaps that’s the challenge of creating art that sits at the intersection of tradition and contemporary interpretation. Mythili Prakash is undoubtedly a masterful performer, but if her goal is to tell a story that speaks to a wider audience, refining the show’s narrative structure and cultural context could elevate She’s Auspicious from a visually stunning spectacle to a deeply resonant masterpiece.

Final Thoughts

This review aims to spark meaningful discourse rather than diminish the artistry behind She’s Auspicious. Mythili’s talent and vision are undeniable, and it is precisely because of this that the conversation about representation, clarity, and inclusion matters. With thoughtful evolution, her work has the potential to be not just captivating but transformative.

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About the reviewer

Dr. Prathiba Batley is a Doris Duke Foundation Dance/USA fellow and a three-time Indian national champion in Bharatanatyam. She is the founder of Eyakkam Dance Company, which advocates for social justice and equity, particularly within the practice of dance. Through Eyakkam, she seeks to reposition the art form by honouring its fundamentals while dismantling hegemonic caste and religious identities traditionally associated with dancers. The Tamil word Eyakkam means "movement" and can signify a social, musical, political, or physical movement. In addition to her work in dance, Dr. Batley serves as the Director of Clinical Statistics at GSK.