Press Reviews

“A scholar, performer and ardent devotee of traditional and indigenous Kerala theatre forms, G. Venu has almost single-handedly championed the cause of Kutiyattam in India and overseas” – Anita Ratnam, American Theatre, May-June 2005

“Venu made history by producing Sakunthalam, a play that runs for 11 hours, the attaprakaram (acting manual) of which was the end result of the collective effort of performers, scholars and critics. The play was staged at three international festivals abroad – an unbeatable record in the history of Indian theatre.” – G. S. Paul, The Hindu, May 21, 2006

“Nirmala Paniker brings to light the lost elements in Mohiniyattam … the Mohiniyattam recital by a couple of young dancers attracted particular attention. Not many among the audience knew that they were witnessing certain aspects of a lasya rich dance form that had disappeared from the regular repertoire more than a century ago” – G. Omana, The Indian Express

“The audience was left speechless in wonder at the brilliance of young Kapila as Shakuntala” – Leela Venkataraman, The Hindu, April 5th, 2002

“Natanakairali, after three decades of effort to revive and rejuvenate Pavakathakali (Puppet Kathakali) glove puppet theatre, journeys through the country roads that the ‘Aandipandaram’ puppeteers used to once wander with Pacha, Kari, Kathi, and other puppets dancing on their fingers. This initiative is part of Natanakairali’s efforts to bring back traditional art forms that have now migrated from the rural towards greener pastures in the urban, back to their rural origins..” – The Hindu, 2011

“The dancers of Natanakaisiki had invested a lot of inner meaning in this dance. Sandra Pisharody is a gifted dancer. Her deep understanding and interpretation of the profound theme belie her tender years. She progressed from an innocent girl bemoaning her material loss to a realised soul reaching the ultimate goal.” – The Hindu, 2009

“Nirmala Paniker, while training her disciples, concentrates on the aspects of abhinaya, as she believes in the tradition of Virali-s, the dancers who had the ability to create bhava with ‘the eye that is body,’ (entire body) stead of face alone. “It is an attempt to bring back the lost glory of abhinaya in Kerala’s female dance tradition,” she points out. She firmly believes in the antiquity of Kerala’s female dance tradition, quoting the ancient texts such as Silappathikaram which makes many references to female dancers and different forms and techniques of dances.” – Renu Ramanath, Narthaki, 2013