I told the choreographers to dress him in shorts. In fact, there was one episode in which a cute young boy was dressed in a loin cloth, because he was portraying Lord Murugan. I avoid glamour as much as possible, and ask that the children be dressed properly. It's not important for them to get the meaning of the lyrics, and in any case, they are usually too young to understand it. I usually make sure that they understand only the steps. How ethical is it to have children dance to adult numbers? She is a mother and understands the nuances well. Which is why I chose Devayani as a judge. But you also need to understand a child's mind, when you are on a show like this. It's very hard to listen to a child cry when he or she is eliminated. I've seen parents cry when their children are eliminated from the show. But sometimes, it's the parents who are more worried about the dances and elimination. Children have an instinctive understanding of dance.
The amount of talent children possess, their effort amazes me.
You run Odi Vilayadu Pappa too, a dance show for children. Everyone was around Sandy, celebrating him! That's the kind of pull they have. Sandy, for example, amazes me with his fans! For one show in Pondicherry, I remember there was no crowd around the dancers. Some of them have really blossomed on the show. Some of these people are incredibly talented, but had no way of expressing themselves. Who would you say has benefited most from the show? In the end, I chose Namitha, and it worked out right. We need time to get everything right, without overstressing. Each episode is strenuous, and takes out a lot from all the people involved. She suggested that we film three episodes in one day, but I was adamant that we film only one. How did you come up with the judges for the show?įor the first season, my choice was Simran, but she found it very difficult to shuttle from Delhi to Chennai. I said it sounded ancient, but he was sure it would win. My team and I came up with a lot of English names, but Kalaignar listened to them and suggested this. Until he arrived and sat in his seat, my heart was in my mouth.Īnother very memorable event was the naming of the show. I begged and pleaded with him to make it somehow, and he did, with a raging fever. There was no one else I could call at such short notice and it wouldn't have looked good. He was supposed to come at 7 pm, but at 3 pm, he called and said he wouldn't be able to make it. I don't think anyone has ever attempted that on Tamil television, before. The season 4 finale at the Nehru stadium. Tell us about some of the more memorable incidents on the show We came up with so many different sets: Railway stations, deserts, the Egyptian set for Season 5 everything was different, and was extra creative because it had to fit within the budget. Early on, I made sure that the show was going to have a lot of individuality it mustn't be like anything on Tamil TV, before. My team of technicians makes it possible. How difficult is it to come up with them every week? One of Manada Mayilada's biggest attractions is the dazzling sets. I ended up producing, directing and judging the show, all in one. I, my husband and sister used to sit at home, wrangling over the funds and how best to use them. I contacted Jaivel, a cameraman and we came up with concepts and plots to use in the show. I decided that if I was going to head this show, I would do something different. I'd just delivered my boy and I was in Kerala, choreographing songs, when I got a call from Kalaignar TV, asking if I'd be interested in doing a dance show. Various people had been telling me for years that I could enter the small screen, that I should put my talents to good use. I never expected to be able to do something like this. The sheer amount of talent they show is amazing. By the time 15 episodes are gone, the team begins to set and the dancers begin to realize what they're doing the reach they and the show have. I need to work these things out for at least five or six weeks into a new season. And I have to run around, talk to them, tell them what a great opportunity this is and how they'll find their feet later on. Someone or the other will call at midnight and say, Master, I can't dance with my partner. You literally have to slave your heart out to get a show like this running smoothly. Manada Mayilada has crossed 150 successful weeks. Kala Master shares details about its journey and hers, with Pavithra Srinivasan
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