‘A Deep Fried Jam’
“What strikes you first in Maya Krishna Rao’s work is no holds barred candour, and the strength that flows from that boldness...she has you alert, and at the edge of the seat. Maya Rao...has depth and resonance in her voice...the ability to make it produce multiple effects. The images compelled the audience to reflect upon history and politics and on uncomfortable questions .......”
The Hindu, Apr. 8, 2002.
‘Metaphor could well be Maya Rao’s middle name……She appears with this work to be almost a rare find…..Maya Rao is capable of using several divergent forms of art into one wholesome and superbly etched production. Congratulations.’ Times of India, Jan. 1, 1994.
Maya holds a beautiful mudra and to watch her get to it is like seeing a dream…Maya’s smooth transition from Sirajuddin to Sakina has to be seen to be believed. The Hindu, Jan. 28, 1994
Khol Do….is a multi-layered search. In a brilliant stroke of imagination, Krishna Rao unifies the father and daughter in the same body….And the audience is stunned into silence. Indian Express, Mar. 19, 1998.
‘Maya Krishna Rao’s theatre is like the titles she devises: spunky and elliptical. …you can’t deny its seductive, intriguing appeal….The effect is not only electric but also, for a production so technologically ‘constructed’, deeply moving. For instance, when Maya wraps around herself a cloth on which is screened the visual of naked Manipuri women protesting against the Indian army’s brutal excesses, the act of ‘screening the body’ is offered with richness …..’ Times of India, Apr. 24, 2005
‘And now in…. ‘Heads Re Meant For Walking Into’, …..Maya Rao goes much ahead and explores life – the life as she experienced around her using a camera as a director would use actors....Surajit Sarkar’s video visuals are indeed dramatic and essential ingredients of Maya Rao’s production design….The presentation must not only be kept alive but it needs in depth discussion by theatre professionals and students of theatre…’ The Hindu, Apr. 29, 2005