1. “Kulkarni, in her spoken introduction, claims that the piece investigates a character who is helplessly attached to her pet bird. But actually, the choreography paints two characters – the woman andthe parrot – and both are rendered through the skillful artistry of the solo dancer.”                              

“The new work challenges the notion of Indian classical dance content and technique and moves beyond the traditional to incorporate a cross-cultural analysis of female experience.” 

“The sound of drums and classical Indian strings spread over the room as the lights dimmed to blue. On stage, a group of dancers swept in, waist and ankle bells keeping time with their bare feet as they tap-tapped across the stage. They cycled in an out, binding their bodies with an age-old story of the Apocalypse before casting it in a totally new light…. At the end, all four of the women came together to dance on the stage, showing how their energy could come together. Individually, they seemed to say, their suffering was inevitable. But told together, maybe their stories suggested there was another way.” 

“Tightly choreographed and interestingly varied choral interludes for the four horsemen sweep the action along, bind the apocalyptic solos into a unified composition, and showcase the technical proficiency of these capable dancers… I found this work to be an exciting development that demonstrates the strong voices and talented proponents of Indian classical arts who are creating and performing stimulating work right here in the United States.”

“Also, Bharatanatyam has well and truly entered the 21st century as it engages with an increasingly wide range of themes and ideas, pushing into thought-provoking political and socio-cultural realms, the abstract and the concrete, and embracing the myths, stories and issues of the world at large.The dancing, by all four dancers, was absolutely top-notch. The choreography was outstanding, and the whole production was tightly woven together and perfectly executed.”

“These dancers turn their bodies into a language; as if every hand-motion or foot stomp is a hieroglyphic. By the end of their act, you swear they could be painted on the sacred walls of pyramids because they are so visually potent. Each of these women, as horsemen/ humans, chose a role, and their sufferings measured whether they were worthy of it. From being a lover to being a mother, it is a tricky question to ask if suffering is deserved or necessary because, in the end, it simply is a part of life. Yet, Four Horsemen asked its audience to see pain like a roadblock; it only hinders path until you, finally, finish building over it.”

“Nayikas, demons, Hindu Gods and Goddesses all populated the stage in the form of just one dancer, such is the power of dance and music.”

“a dancer of assurance and maturity whose dance was expressly poetic.”

“Ms. Kulkarni, a veteran Indian dancer and choreographer who has performed many times in New York, was at her best in her most abstract numbers. A highlight of the evening was her Ravana Stotra, set to a song describing the attributes of Shiva. Bold and clear, Ms. Kulkarni's dancing also took on a potent trancelike mystery at appropriate moments in the song.”