“The National Festival of Indian Classical Music and Dance, presented by Indo-Occidental Symbiosis and Ravi Kichlu Foundation…..Jalsa Chandra enthralled the audience.”
———The Times of India

“Jalsa Chandra has put in a lot of hard work, empathy and her sensitivity in evoking an intense and buring  social issue through exploration of good dancing and drama. This ambition project needs more presentations in order to generate public awareness….Dr. Nita Vidyarthi is a veteran critic of performing arts and writes on dance, music and theater in leading publications”
———The Narthaki

“It was the duet by Jalsa Chandra and Jhinook Mukherjee that stole the show. The disciples of  Thankamani Kutti – their performance were their their unmistakable stamp – presented beautifully coordinated show.”
———The Hindustan Times

“Impressive in its entirety Jalsa Challenged dishonourable attitudes demanding the emergence of women what deserved mention intelligence wise of Abhinayam and footwork.”
———Smt Sandhya Sen, The Satesman

“As a part of the 20th anniversary celebrations of the West Bengal Dance group Federation’s Choreographic Festivals at Gyan Manch, the production Cheton-Acheton by Nritya- Kalangan stood out on the opening day for both its concept and presentation.

Conceived, choreographed and composed by Bharatnatyam dancer Jalsa Chandra, disciple of Guru Thankamani Kutty, the piece blended the social, the political and the evils of modernisation that seduce man towards a materialistic world, plunging him into a technical state.

The mechanical state bears similarity with the rigid metaphor of playing cards of Rabindranath Tagore’s satire Tasher Desh on the rigidity of the class system in the British raj. Cheton-Acheton is a struggle for freedom from the shackles of the claustrophobia of modernity & the mechanical life, and Jalsa chose two characters named love and faith who through their balanced relationships between ideology and beliefs offer a path towards freedom and the realisation of truth is finally achieved. Borrowing Tagore’s idea of cards, the performance battles between freshness and orthodoxy. Jalsa offers a fresh dimension to the theme through her choreography using dramatic stances and music composed by Aninda Banerjee. Western Instruments and linear Bharatnatyam movements were naturally used to depict the movement of the cars while a more fluid style for love and faith portrayed by Jalsa & Samrat Dutta in Bharatnatyam and element of Kathak accompanied by Indian Classical Instruments was incorporated Jalsa’s ambitious project deserves praise”.
———Nita Vidyarthi, The Statesman

“Ami Chitrangada, the moving tale of the Princess of Manipur, from the Mahabharata, was enacted well in dance- drama form. The various elements of the story, starting from Chitrangada’s marriage to Arjuna and the birth of their son Babrubahana, his coronation, the battle of Kurukshetra, the blocking of Arjuna’s horse in the Aswamedha yagna by Babruvahana and Arjuna’s death at his hand, his being brought back to life and Chitrangada’s decision to stay on in Manipur and not accompany Arjuna to Hastinapur, was choreographed beautifully by Jalsa Who Played the role of Chitrangada”
———Tapati Chowdhurie, The Statesman