Performance of Krishnattam is elaborated that requires detailed makeup in order to present the gestures and movements aptly. Krishnattam requires a group of performers and it is performed to the accompaniment of music. Vocalists repeat the lines of the song in order to provide enough time to dancers.

Performance of Krishnattam on First Night
Kelikottu is the first event of Krishnattam. It is carried out by playing drums, gong and cymbals in the evening during daytime at the East Nada of the temple. This is to inform the people in the neighbourhood about the performance that is scheduled to be held in the night. When the rituals are complete the Kali Vilakku is kept in front of performance space in the Temple on the North side of the Sanctum Sanctorum. Some rituals are performed after which Kelikkayyu is performed.

After kelikkayyu, Totayam ritual is performed. Purappatu starts after this which is a piece of pure dance choreography. Krishna or Balarama or both along with other characters, dance with gestures of hand and face and special steps. In Avataram, the first scene is considered as purappatu. In other plays, the scene in which either Krishna or Balarama or both appear first on stage is considered as purappatu. In Kamsavadham, Purappatu takes place in the middle of the play. In Vividhavadham, there are two Purappatu, in the beginning and the other after some time.

Characters in Purappatu
The characters who perform Purappatu for the plays are:
Avataram - Brahma and Bhoomidevi
Kaliyamardanam - Krishna, Balarama, Nanda and Upananda
Rasakrida - Krishna
Kamsavadham - Krishna and Balarama
Swayamvaram - Krishna and Balarama
Banayuddham - Krishna, Satyabhama and Garuda
Vividavadham - Balarama and wives, Krishna, Bhima and Arjuna

With the Avatharam starts the performance. Bhumi Devi apeaks about her worries under the stranglehold of evil to Brahma, the four-faced who promises her immediate relief. In the next scene post marriage, Kamsa the all-caring brother transforms himself into a demon as his life is threatened. He dominates as the devastating power of the evil until Vasudeva promises to give all their unborn children into his hands. Thereafter in the next scene Lord Vishnu descends in his Vishwaroopa and the parents pay him respect. Then follows the pranks of little boy Krishna.

Performance of Krishnattam on Second Night
On the second night Krishna grows up in figure in order to destroy the evil. The stories are narrated in verse and scenes like Poothna Moksham, Bakasura Vadham, Kaliya Mardhanam are depicted in masked dances. The thandava dances of the fighting scenes alternate with the lasya style of the celebrations of his triumphs.

Performance of Krishnattam on Third Night
Rasakreeda takes place on third night depicting one night of erotic bliss on the banks of the Yamuna. Here adolescence blossoms. Essence of romance is presented in a harmonious ensemble that is steeped in feminine grace. The Gopis are played by the males. All the males that play the Gopis display femininity.

Mullappoo Chuttal is a celebrated garland-dance that is performed. The fluid movements of the dancers weave circles, and triangles, in twos and threes. Its patterns unfold like petals of blossoming flowers. Krishna dances in and out of these changing patterns in charming glitter.

Performance of Krishnattam on Fourth Night
Kamsa Vadham is the performance of the fourth night. Swayamvaram is performed on the fifth night enact the marriages of Balarama, and Krishna accepting Rukmini and Sathyabhama, which are really colourful. Banayudham is performed on the sixth night and Vividha Vadham is done on the seventh night. These are famous for the varied masks that depict Krishna`s life. Geethopadesam and the tender tale of Krishna are other beautiful renderings. On the eighth night after the accomplishment of his mission Krishna renounces his life. Swargarohanam follows Avatharam on the ninth day as death is followed by birth.

Last Scene of Krishnattam
All plays end with Dhanasi except Swargarohanam. The characters in the last scene perform Dhanasi by dancing in a particular way accompanied by singing few lines in the fifth padam of the play Kaliyamardanam. The characters who perform Dhanasi are:
Avataram - Krishna and Yasodha
Kaliyamardanam - Krishna and Nandagopa
Rasakrida - Krishna and Balarama
Kamsavadham - Krishna and Balarama
Swayamvaram - Krishna and Satyabhama
Banayuddham - Krishna, Pradyumna and Aniruddha
Vividhavadham - Krishna and Rukmini

Techniques in Performance of Krishnattam
Illustrative hand gestures are not seen during this performance. They occur when the characters are sitting or performing very simple dance steps. The drummers follow the movements of the dancers with appropriate rhythms and sounds. Female characters perform many of the same steps as males though theirs is gentler. Some unusual properties are also used in addition to the usage bows and arrows maces and swords. The actor who portrays Lord Brahma wears two extra wooden arms, Baana has six extra arms, and Garuda has a beak and painted wings.

One scene is a tableau of Krishna and Satyabhaama riding the bird garuda, which opens the play Baanayuddham. The curtain represents a protected place such as a fort or palace. In Svargaaroham two spectacular scenes occur both are in Vaikunta. In the first one lord Vishnu sits wearing a serpent-hooded crown with several deities in the background. In the second Lord Vishnu reclines on his serpent Ananta. Both are played on a special raised, walled and roofed stage used only for these scenes.

Krishnattam dancers also sing along with the singers only once during the entire series of plays. This occurs in the play Raasakirida. Humour is also a part of Krishnattam. The mangalam dance is a dance sequence in which the dancer`s hands move only in the basic hand gesture pattern and there is no emotional expression. The last performance of the season was performed at the Zamorin`s palace that was called the Petti Vechu Kali. The play is concluded by playing a couple of beats on the maddalam just as in the beginning.

The performance of Krishnattam is more lyrical that is highlighted by folk elements and a highly imaginative use of lokadharmi or `realistic` dimensions of performance. The intimacy of the performance contributes to the immediacy thereby enhancing the bhakti of several pilgrims. Krishnattam is a dance oriented theatrical performance.