New York Times Review

February 4, 2013

“….an Indian fashion designer, Poonam Bhagat, and the exquisite Kalanidhi dance troupe choreographed by Anuradha Nehru to add vibrant touches of authenticity to the dress and movement of characters who otherwise seem less rooted in South Asia than in commedia dell’arte. The spoken dialogue was edited down to its dramatic essentials and delivered with great clarity by the glowing cast of singers, most of whom were native French speakers. Together with Ryan Brown, who conducted with a fine ear for flow and comic timing, they made a solid case for “Lalla Roukh” as an overlooked gem of more than historical interest.”

Mythili Narayanaswamy & Shubha Subbarao,

April 27, 2010

“On Saturday evening, the audience was dazzled by Asha Dwarka, Chitra Kalyandurg, and Lavanya Thamire, artists from Kuchipudi Kalanidhi, Washington D.C, whose amazing expressions, footwork, and choreography was captivating……”

Alastair Macaulay, The New York Times

January 24, 2010

“The Kalanidhi combination of bright energy, full-bodied sweetness and rapid precision; its wealth of multidirectional focus, physical detail and expressive nuance; the abundant spectacle of its groupings and geometries; its multilayered connection to its music; the beautiful pliancy of the spine; the vitality of the feet and arms: these make for a rare amalgam of prime dance virtues…”

K. Subadra Murthy, Narthanam

January 2010

“‘Samasta’, organized by Kuchipudi Kalanidhi…served to showcase not only the high caliber of the dancers but also the lyrical beauty of the Kuchipudi idiom.”

Prithi Kanakamedala,

November 18, 2009

“Maryland based Kuchipudi Kalanidhi are garnering a reputation as a ‘must see’ company on the American dance landscape. Their latest production, the historical ballet ‘Bhagmati’ was an engaging example of the company’s blend of tradition and innovation in their work…It is an exciting development in Kuchipudi that this tradition can be remolded and rewritten for international audiences without any of the form’s essence being compromised. In this regard Kuchipudi Kalanidhi has a great deal to be proud of.”

Pamela Squires, The Washington Post

November 10, 2009

“With the Washington area now the second-biggest Indian dance community in the United States, it is heartening to see that elaborate dance dramas like [Bhagmati] are made possible by a growing pool of local, skilled classical Indian dancers.”

Uttara Coorlawala, India Abroad

June 15, 2008

“Today, I saw contemporary women, confident in their emotions and in their understanding of what they were doing, poised and clear. Clear footwork, clear arm and hand patterns- all a tribute to themselves and the work of their inspired and committed teacher Anuradha Nehru…there was flow in the connections into and out of the poses that the dancers struck and their comfort with flowing across and around the stage in the various reconfigurations of tensions between symmetry and the asymmetrical.”

Lisa Traiger, The Washington Post

September 5, 2005

“Nehru uses Kuchipudi, the deliciously graceful yet rhythmically pungent South Indian classical form, as the expressive base from which she urges her eight dancers onto an epic and expressive quest.  “Navarasa” blended both traditional and contemporary elements in a fully realized evening. The perfect symmetry, the shimmery lights and the refined poses reflected the ultimate “Rasa,” or mood: true peace and enlightenment, a measure of dharma.”