MEDIA ACCLAIM

Sita - How could he have questioned my integrity?                                Surpanaka                         Queen Keikeyi, sitting on the throne                                                                                                                                                                             ....proud, regal, confident...

Mythili Prakash gives the women of the Ramayana a new voice... Mythili was able to bring her vision and concept to life...In investigating the power struggle between women and society throughout history....Streekatha....undoubtedly showcased her (Mythili's) years of training, strong technique, experience and exposure as a soloist and choreographer....in the story of Keikeyi, thoughts of fear, betrayal and concern that she would lose her status if Rama were to be crowned King...compelled her to confront King Dasharatha to have Rama banished and forced into exile. Shurpanaka ... an outstanding scene not only because of the story's overall charm and Mythili's intent to highlight Shurpanaka's independent strength, but because of her ability to imbibe the story to such a degree. Most Indians born and raised outside of India rarely have the innate vocabulary to portray characters like Shurpanaka with the robust and forward attitude it requires. The scene essentially displayed her mastery of the art form; which has given her the background to explore these characters with fearlessness...then she introduced Sita...Mythili really questioned what happened in this union. As Sita, Mythili gracefully relived memories and moments with Rama and her children only to find that her life was still so unfulfilling... Mythili paid a great deal of attention towards investigating the societal expectations of each of these women, never addressing Rama's position (or the male perspective) in any of these instances. The audience could clearly draw parallels between these three different women, stories....with issues that can still be found in society today. Mythili is also a tradition bearer....being an Indian American, this was reflected in 'Stree Katha' as she effectively connected our rich Indian culture to modern day life.

by Lakshmi Iyengar (click here) - a lead dancer and designer for the Rangoli Dance Company. narthaki.com Los Angeles, May 15, 2007

With an ode to Surya (the sun) Mythili Prakash (in Dance Yatra) celebrated our interconnectedness to nature ...a luminous dancer, ambitously imaginative and drawing deep from her guru Viji Prakash's teachings and enhancing the dance with sublime dexterity and original fiery elegance. A magnetic stage presence..combines a brilliant layering of meticulousness and sensitivity to her artistry...Mythili as Draupadi (in Panchali Sapatham) was a heady melange of pain, humiliation, and rage...was a commanding presence in this episode. Current, a contemporary piece choreographed by Mythili Prakash ...approached the music ... with innovative and exciting flair.

...the recital lived up magnificently to its press release description as “a vibrant journey rooted in the finest traditions of Indian music and dance"..Headlining the performance is the award-winning Mythili Prakash, who embodies all the grace, precision, joy, and passion one could hope for.

While the traditional dances were magical in their own right, bolstered by the beautiful and colorful costumes, exquisite music, and unimpeachable, professional lighting design, a few treats really anchored the recital as something outstanding. One such treat was the inclusion of a contemporary dance firmly based in the traditional forms: Mythili Prakash’s Current, a non-narrative piece evoking the flow of water to the ocean...The best compliment I can offer is that Dance Yatra left me wanting more. The Shakti Dance Company put on a production to enthrall the senses and, yes, lift the spirit, which leaves me eagerly waiting to see what they come up with next. If you want to see what all the gushing is about, I humbly suggest visiting the Shakti Dance Company’s website at www.shaktidancecompany.com , and signing up for their event mailing list.

Frederik Sisa, The Frontpage Online, Los Angeles, March 29, 2007

Most satisfying program I attended was by Mythili Prakash and her brother(Aditya Prakash) singing for her at Bharat Kalachar and my most favorite item was "Bhaavayami Raghuramam" of Mythili Prakash - posted on Narthaki.com by senior dance guru, V.P Dhananjayan commenting on the 2006-2007 Chennai December Festival. My favorite performances was by Mythili Prakash, Sudarma Vaidyanathan and Narthaki Nataraj, all three in parts but all excellent! - posted on Narthaki.com by Anita Ratnam, senior dancer/choreographer commenting on the 2006-2007 Chennai December Festival.

- http://narthaki.com/info/rt/rt7.html, Chennai, February 25, 2007 (click here)

Mythili Praksh's dance was electrifying. She started with a prayer to Surya, an adithya hrudayam. Next came the main item of the program, a daru varnam of Muthiah Bhagavathar in Raga Kamas. Third was a padam from Ganam Krishnayyer in Raga Saveri - "I sent you to him on my behalf. Tell me what happened, dear friend". This padam describes how a young woman sends a friend as a messenger to her lover, but the friend loses her heart to the lover and betrays the young woman. Upon the friend's return, the young woman accosts her friend and demands an explanation for her disheveled appearance. Mythili's face expressed happiness, anger, rage, sadness and shame beautifully in this padam. There is a charm when youngsters like Mythili perform padams and javalis in such a splendid fashion. Mythili was equally amazing in 'Panchali sabadam'. Her portrayal of Draupadi's disrobing by Dushasana, her consequent cowering and then her ultimate surrender to Krishna were simply superb. Mythili's dance and appearance bring to mind the young AlarmelValli.”

- Kameshawari Iyer, Ananda Vikatan, Chennai, January 2007

Mythili Prakash fuses technique and aesthetics...eloquent Abhinaya...an adept choreographer... her performance displayed her talent, agility of movement and thorough professionalism...she choreographs keeping in mind the mood of the number and not to play to the gallery...her articulate abhinaya was supplemented by eloquent mudras and an agile body. She leaped and curled while depicting Krishna's pranks on the gopis. As Draupadi, she trembled with rage and humiliation while portraying Dussana's attempt to disrobe her.

- HARISH BAL , Hindu, Cochin, September 8, 2006 (click here)

"She marks her feet sharply but lightly, she moves at lightning speed on the ground and through the air without blurring, she is sure and reassures..., she rarely pauses as she moves, and when she does she holds it (poses) to perfection……Jumps, turns and solid grounded steps executed to as near perfection as a human body could possibly render... I would be justified in describing Mythili as being blessed with facial features not far from what is described as "ideal" in the Natyashastra for a dancer, and expressiveness to boot...."

"Simply Sparkling…a Bharatanatyam delight…Geography and distance have not dented the Indian in Mythili who is an uncommon aggregate of talent, commitment and presence with that precious ingredient of integrity, which burnishes her art with a special luster. While describing her dance, one has to constantly rein in the unbridled praise threatening to run away. At her entrance itself…the audience was alerted, made to sit on the edge of the seat……"

“…it was the dancer’s inner fire that spoke. The strikingly bold stances…after electrifying movement, the chiseled beauty of the araimandi and toe-heel kudittu-metta, all executed with such joy and passion sprang from the obvious fountain of youth and agility. But what of the interpretive skill where Mythili’s capacity for internalization carried everyone on a magic carpet, the entire space charged with emotion, never allowed to be maudlin.”

“Many light years ahead, Mythili’s performance has raised the stakes for dancers in her age group. Be it her moving portrayal of Krishna and Yashodha’s love…or compelling yet controlled enactment of the gambling scene of Mahabharata in Panchali Shabadam, the dancer brought an integrity to her performance. Suggestive abhinaya is her forte, a quality that has been lost in recent times….”

Roots intact...The Natyakala Conference of Sri Krishna Gana Sabha highlighted the contribution of NRI dancers...in making our dances a part of mainstream international dance activity. While eyebrows have been raised at the dancers of traditional forms becoming converted to the contemporary western dance idiom with all the `fusion confusion,' we must not forget dancers who through years have stuck to their traditional roots providing a strong anchor point for the classical dances. For Viji Prakash, the classical vocabulary had a conviction communicating across cultures and few students grudged three years spent on learning only basic movement units like adavus. If her rendition of the Natesa Kavutvam represented the hoary tradition ...presented with grace and perfection of line, by her daughter/disciple Mythili, represented the more contemporary version of Bharatanatyam in its fuller virtuosity as against the interwoven word/sollu mix of the old Natesa Kavutvam. That years spent in the States have not diluted her abhinaya prowess could be seen from Viji Prakash's presentation of the Padam in Saveri ``Unnai Doodanuppinen." Working within the Bharatanatyam parameters while interacting with Hip Hop, Flamenco, Balinese dance, Ballet, Viji had choreographed several productions extremely well received by foreign audiences.