"Naachiyar" transported the audience to a bygone era where art, culture and literature flourished.
Anita Ratnam's graceful poses, adroit footwork, supple nritya exercises and contemporary
sensibility stole the show... The smooh flow of interpretation and clarity of visualization were high
points of the dancer's narration.
DEEPTHI R. NAIR, The New Indian Express, Coimbatore, Saturday July 3, 2004
The procession of the idol and the conducting Thillana were cleverly choreographed. The music was
of a high standard... the temple "sevakan" with a large colourful "namam" played the conch with
tremendous lung power and made a dramatic addition to the cast.
Shanmukha, A Cultural Journal, April-June 2004
On invitation to perform for the Golden Jubilee celebrations of Shanmukhananda Sabha, Mumbai,
Anita Ratnam offered a lecture demonstration on her production "Naachiyar" on November 8, 2003.
The details were well-received as reviewed below:
Anita Ratnam is a very articulate person and builds a good rapport with her audience and conveys
her ideas with felicity. She demonstrated how a length of cloth could serve as a wonderful
prop... becomes a co-dancer and creates its own personality. The use of several other props that
she had collected from around the globe; how space opens up different dimensions; working with
various levels, were also demonstrated by her.
NARTANAM, A Quarterly Journal of Indian Dance, Oct.-Dec. 2003
"Anita Ratnam impressed the audience immensely with a fluent communication of her ideas of
contemporary technique for traditional themes.
Anita was precise, and well co-ordinated in thought and action, bringing up her views on
conceptualisation of the different ideas and strengthening them with appropriate visualisation.
"Penne, Penne," describing the faceless female in society, the use of cloth at various points of
depiction for "Penn", and again in Naachiyar and Panchajanyam and finally the depiction of a
discordant nightmare with movement technique, were some of the examples shown by Anita to
support her presentation. The lines, diagonal movements and working at different levels, like low,
medium, upper and aerial, used in group productions, were explained."
NANDINI RAMANI, The Hindu, Friday, Nov 21, 2003
She came and conqured Delhi's dance scene with her production NAACHIYAR. From the beginning
to the end there was not a single slip. Anita had done her homework thoroughly. Carefully worked
out concept, choreography, casting and costumes... a total presentation.
SUBBUDU, The Statesman, New Delhi, May 9, 2003
Having seen the work in Chennai last year, one remembers it for the neat choreography and visual
aesthetics in presentation. Giving the story of Andal a special dimension and vitality was Revathy
Sankkaran's vibrant acting and singing in the role of the foster mother. Anita herself as Andal gave
her all to the part.
LEELA VENKATRAMAN, The Hindu, New Delhi, April 24, 2003
What set it apart in its unfolding was the entire modernistic approach of stylised choreography,
elements from the twilight of dance's history...The transparent guaze curtain, part and parcel of
ancient theatre practice isn't just a prop for entry but a host of interesting images, a garland, a
mirror, then again a flute and a little later a stream of running water! Andal Pravesham is now
acomplished, comfortably spanning several millennia.
SHANTA SERBJEET-SINGH, Hindustan Times, New Delhi, April 23, 2003
An aroma and substance quite different from the usual fare... Excellent choreography... a mature
abstemiousness far from the insulting opulence one is often treated to in dance theatre
productions... Anita Ratnam has found her place in Bharatanatyam, in off-beat creations rather
than the Alaripu to Tillana margam format... The production touched all hearts."
LEELA VENKATRAMAN, The Hindu, Friday, January 5, 2001
Dancing to no rigid tune....bridging the gap between purists and modernists.
PREMA MANMANDHAN, The Hindu, Kochi, March 16, 2001