I Am Just Going To Say Shit 

..Meanwhile, in the middle of the gallery, “Cloud Turn” was an embodied expression of humans’ desire to control the weather. The dancers draped in white took their final movement, like slapping the air, and interestingly, right as we stepped outside, it began to rain..

-idea shared with but manifested verbally by Rhett

The Walker Art Center's Choreographers' Evening
..Transmutation.. characterizes Pramila Vasudevan’s A Desire to be Human, which passes classical Indian dance through the prism of a metamorphosis from insect to human.
—Linda Shapiro(Posted on Dec 29, 2008), Dance Magazine

 A Quiet But Hardworking "Choreographers' Eve"
Pramila Vasudevan’s pocket summary of The Wet Bug Hush sounds brilliantly demented, but the excerpt she showed was notable mostly for her burbly, alt-bharatanatyam style.. Where this Choreographers’ Eve did live up to expectations, .. was in the dancing..The explosive pyrotechnics of the Battlecats, juxtaposed against the sinuous evolutions of Pramila Vasudevan: fire and flight, water and wind.
—Lightsey Darst (Posted on Dec 8, 2008), www.mnartists.org

Outstanding!
Being on the other end of that silken curtain was the best stress relief I've had in ages! A dance troupe acts out the progressive agony of our "free to be any cog you want" society, and five audience members get to decide whether or not to let Progress take its course. For any resident of Cubicle Hell, it's wonderfully cathartic.
—Doug McNair (Posted on Aug. 7, 2005)

Fear of not seeing this
Dancers grapple with societal notions of work, individuality, collectivity and social responsibility through their bodies -- and audience participation. Beautifully conceived and artfully executed. Make sure you see this one!
—Shannon Gibney (Posted on Aug. 12, 2005)

StarTribune, Theater Reviews: Day 3
Fear of Freedom
There are no spectators in an efficient world. Everyone ... must ... participate. Like Fritz Lang's "Metropolis" or Charlie Chaplin's "Modern Times," this meditation on labor and progress uses repetitive motion to make the observers question whether we are all simply cogs in a machine. An interactive element allows several audience members to manipulate the direction in which the microcommunity on stage will go -- toward a more structured or more free society, followed by a postperformance discussion on the parameters and responsibilities of freedom. This bare-bones basement production by Aniccha Arts is what the spirit of the Fringe is all about, a surprise that also stimulates reflection.
(CalibanCo Theatre)—Kristin Tillotson