The specialty of this concept lay in weaving the theme using many of the Ramadasu kirtanas. A thoughtful use of a rope made out of a long cloth, which gave the illusion of a jail and other backdrops, was interesting. Ananda and her disciples rendered the ballet, which was absorbing. These kirtanas were rendered in traditional tunes familiar to generations of bhaktas. This story line was presented vividly with apt abhinaya by Ananda, playing the role of Ramadasu. Many kirtanas related to those situations of Ramadasu in jail, were presented imaginatively. And the element of Bharatanatyam was not sacrificed as Ananda created in her choreography spaces for presentation of jatis of high standard, without disturbing the mood of the drama. As the play progressed many popular kirtanas rolled out. The composition, Takkuvemi Manaku was converted into a presentation of the Avataras (incarnations) of Srirama, named in the kirtana. Similarly Idigo Bhadradri, Srirama Neenama and many more were translated into explicit abhinaya. - G Srihari, Hindu, 2nd March 2007

Like a refreshing Monsoon mist, it enveloped the audience and left them rejuvenated. It’s rather hard to describe whether it was the choreography, the craft of the art, the brilliant musical composition that was weaving its magic. Sri Rama Namam – Entha Ruchi Ra -- - Ananda Ramakanth

The choreography by the danseuse was interesting; particularly the group choreographies, and the simple, dignified costumes and minimal props enhanced the production. A length of cloth braided into a rope served to depict the chains that blind Ramdas, the prison, etc. It was also used to suggest the building of the temple and the erection of the dvajastambham, which became clear only as the episode progressed. The sequence showing the sculptors at work in the temple had some interesting moments with the female dancers first remaining immobile like rock, and as the male dancers mimed the sculpting, the former slowly changed their stance as the sculpting progressed to finally hold the postures of the status. Venu Madhav (vocal), Renuka Prasad (Nattuvangam), and the other members of the orchestra gave fine support. - K Subadra Murthy in Nartanam, June 2007

Responding to Ananda’s invitation, I saw her dance drama with the above title on Feb 22 at Ravindra Bharati, and it was OUTSTANDING! Especially if one had the time to read the very well written leaflet that was distributed at the hall, it was very easy to follow the meaning of the various movements, as she and her ensemble unfolded the story of the legendary Bhakta Ramdas, who used the revenues of Nawab Abul Hasan Shah to build the Bhadrachalam temple. The solo items that Ananda performed as Ramdas in captivity were especially emotive and showed that her creativity and dancing prowess have just got better and better every time I’ve seen her dance. The music and vocal recital by Mr Venu Madhav was also really excellent, to complement the performance. It was strange that, both at the Conference show at Rock Heights and at the Ravindra Bharati, my neighbour [both Rotarians] asked me how old Ananda must be. Seeing her dance, I guess the right answer should be – AGELESS!! More power to you Ananda! - T Raghav Rao

Ananda – adorable performance. I was moved to tears. -Ranee Kumar

It was like watching poetry in motion…such fluid grace…such ecstasy …your dance elevated me into a higher state of being. I am your complete fan now. - Mani Shankar, Renowned Film Director