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Madhusri Raj Sethuraman
January 14, 2014: Mylapore Talk
“In Harmony with Each Other: Splendid show by Mom (Madhusri) and daughter (Shilpa).”
January 5, 2013: Dinamalar
“The combination of Jathis provided by Madhusri and the beats of the Mridangam brought out the best in the dancer.”
October 2009: Thendral
“Madhusri’s choreography was a fascinating blend of tradition and novelty that thrilled the audience.”
March 2005: Daily Iowan, on Ideal king dance ballet
“Dancing fit for a King.”
March 2004: Indian Express
“Madhusri is a mature dancer with clear movements and sharp facial expressions. The varnam in saptharagamalika offered full scope to Madhusri and her daughter to showcase their talents in an effervescent manner.”
January 7, 2001: News Today
“Madhusri Raj Sethuraman and her daughter baby Shilpasri two talented artists danced their way into the hearts of the audience at Varsidhi Vinayakar Temple.”
July 23, 2000: Dina Malar
“Madhusri performed the nattuvanagam effectively and effortlessly for Shilpa’s Arangetram”
June 20, 1996: News Today
“Her style and maturity of approach was magnificent. Her rhythm acumen which matches any sequence with ease and poise and the flowing beauty of her adavus make her a dancer to reckon with and thus outshine many dancers of today. Madhusri left the feeling that her performance of that evening was quite packed with happenings.”
June 14, 1996: The Hindu
“The clear stamp of Kamala, especially in the deer like leaps, swift swirling around and the kitathakatarikitathom could be seen in Madhusri throughout”
March 28, 1990: The Daily Iowan
“While Jessica Tandy and Daniel were receiving an Oscar, a performance of award winning caliber by Madhusri captivated the audience at Mac Bride Auditorium”
March 18, 1988: Evening News
“Madhusri’s laya, taal, movements, footwork, hastas, postures and abhinaya have such an aura of spontaneity about them that the dance appears to be an innate and inseparable part of her personality. The smoothness and ease with which she strikes the most statuesque of postures gives them a sheen of delicacy and softness not come across in other dancers. The toast of the whole performance was the thillana in raag Kedar in Rupak taal. The Jathis(footwork) had a fluency of fast moving mountain brook, the movements precise and perfect yet with an aura of sweetness and delicacy, the karnas as exquisite as the sculpture of the Chidambaram temple could have been carved out, yet effortless in their execution”
March 18, 1988: The Statesman
“Both in aspects of pure dance abhinaya, she was convincing. Her footwork and corresponding adavus were both precise and graceful.”
November 3, 1987: Dinamalar
“Enna Naan Saidu Vitten was done so well that she brought Baby Krishna before our eyes”
July 8, 1985: The Hindustan Times
“Her dance is quite tensile, graceful, yet adequately powerful befitting the essence of the form.”
June 29, 1985: The Statesman
“Madhusri revealed a keen sense of both abhinaya and rhythmic prowess in her tightly rendered varnam.”
January 26, 1985: Indian Express
“The aura of sobriety and self containment her dance engendered was striking. The nritta sequence were terse and explicit and were performed well.”
February 1984: Dinamani
“By this performance, Madhusri proved that she is an excellent dancer and brought kudos for her master”
May 1984: Amudha Surabhi
“Madhusri danced vivaciously. Her long lovely fingers showed the mudras beautifully”
Jan 1983: Indian Express
“The footwork was nimble and powerful- in fact the vital force and the animation of her nritta was considerable and had instant impact”