“Tehreema Mitha crosses borders as easily as the rest of us cross streets.”
Washington Post, 2003



“…Mitha navigates the border between East and West. While trained as a classical Indian dancer, she has been experimenting with her own body and with her technically proficient modern- and ballet-trained dancers on how to meld these distinctive styles of movement. In "That First Rush and the Middle of Forever," a recent work, the choreographer interweaves two couples into a study that struggles with the growing banality of daily life once the initial rush of heated passion subsides. Contemporary dance and classical bharata natyam styles are braided through the work. Another contemporary ensemble piece based on the Sufi ideal that true enlightenment can only be obtained by living actively in the world, Mitha describes "Dhiyaan" as an introspective meditation set to a complex Indian score played to 16- and seven-beat measures.”
Washington Post, 2003



“Mitha is a figure to be watched, with an ambition to be nurtured.”
Washington Post, 2002



“Tehreema’s themes were different, and quite apparently rose from a different process of creativity: as a poet or novelist or filmmaker would respond to the immediate environment, some event, some issue; respond to it intensely, personally, keenly and then in one conscious creative process, produce a piece involving dance music, movement and costumes.
Asia Heritage, 1997



“She has the carriage of a Martha Graham, the elongated neck of Modgialani painting and the darting eyes of a classical dancer from India”
The Hindustan Times, 1996



“She has progressed from a narrative, storytelling approach towards a more open ended, questioning and rebellious orientation”
Friday Times, Pakistan 1997