logo

Reviews

She was all of dignified maturity and fluid movements marked throughout by that indefinable something we can only call the mind...serene, inward-looking joy. 
Shanta Serbjeet Singh, Hindustan Times, New Delhi
 
 
She has proved beyond doubt that innovations are the order of the day...Tyagaraja’s “Nidi Tsala sukama” was the crowning piece...choreographed brilliantly...Abhinaya was subtle and full of intensity..The intensity with which she delineated  (Omkara) brought out an inner radiance during the final sequence.
Subbudu, The Statesman, New Delhi
 
 
Movement in all its joy as it flowed through space and time in the Pallavi in Arabhi which was flawless in rhythm… Her ability to become one with the emotive content of the lyric is astonishing.     
Leela Venkataraman, The Hindu, New Delhi
 
 
(In the Khandita Asthapadi-Yahi Madhava) Her nuances on expectation, yearning and disappointment are indeed something to watch.... she is a tragedienne on the highest order...out of this world and deserved accolades for its interpretation. Kalidasa's Parvati wanting to marry Shiva.. The abhinaya rose far above its usual demand to heights of spiritual bliss....by reason of her personal projection she has internationalised Odissi with out altering one iota of its form or style but by enriching this dance from with mortal intensity in acting and a stronger projection of feeling the quality of movement. Her additions lend excitement and clarity to the style in total.
Hima Devi, Afternoon Despatch and Courier, Bombay
 
 
Sharon's portrayal of Uttam Nayika will perhaps be regarded as one of the best...Sharon exuded a radiance.
Rubai, Sunday Herald
 
 
Sharon swept the audience off their feet by her compelling interpretation.  
Subbudu, The Statesman, Madras
 
 
A vibrating experience for the audience...controlled abandon of ‘laya’ - ‘taal’ and ‘bhangis’...pure dance and ‘angabhinay’ was spectacular...In the devotional pieces the dancer appeared to have delved deep into her psyche to produce such a trance like state of being.
N.K. Mudgal, Evening News, New Delhi
 
 
Sharon swept the audience off their feet by her compelling interpretation. 
The Statesman, Madras
 
 
She was all of dignified maturity and fluid movements marked throughout by that indefinable something we can only call the mind...serene, inward-looking joy.  
Shanta Serbjeet Singh, Hindustan Times, New Delhi
 
 
Her nuances on expectation, yearning and disappointment are indeed something to watch.... she is a tragedienne on the highest order...out of this world and deserved accolades ...The abhinaya rose far above its usual demand to heights of spiritual bliss....by reason of her personal projection she has internationalised Odissi without altering one iota of its form or style but by enriching this dance from with mortal intensity in acting and a stronger projection of feeling the quality of movement. Her additions lend excitement and clarity to the style in total.
Hima Devi, (wife of Mulk Raj Anand), Afternoon Despatch and Courier, Bombay


Blessed with unerring musicality and keenly deployed technique, Lowen can mesmerize with hands that drift and carve the air like rising smoke. But perhaps the strongest weapon in her arsenal is her eyes, which mirror the soul with convincing depth and grace. In passages of expressive mime, a parade of moods took their turn illuminating her from within, whether she was swooning with the desire of Radha for Krishna or becoming a fearsome warrior incarnation of Vishnu.
Dance Critic Jennifer Fisher, on Lowen's 1996 Odissi Performance at  Occidental College