.......Leena's dancing is characterized by a flowing quality, chiseled postures and a gay light footedness that remains well anchored in the rhythm. The tribhangi postures had a perfect finish, no matter how fleetingly they appeared that was extremely satisfying. A disciple of the Late guru Deba Prasad Das and later of his disciple guru Durga Charan Ranbir, Leena's dancing is a fine example of this school of Odissi. The simplicity and joy of the recital had a soothing effect.
The Statesman.
Leena's dance was something else again. It gave out the scent of suddenly coming upon an exquisitely proportioned ancient monument hidden from view for centuries. It noticed, mesmerized and effortlessly transported the viewer along pathways charted by Leena's darting eyes, her vulnerable yet all-conquering smile and the perfection of Deba Prasad Das's style of matching with lasya with tandava.
Shanta Serbjeet Singh, The Hindustan Times
....with her very first steps on stage, even as Leena made her slow entrance in the Mangalacharan, the measured gait with one leg tracing neat circle in the air and the body doing a half turn, was fully indicative of a beautiful balanced dancer, totally at ease with rhythm and movement in Odissi.......
Leela Venkataraman, The Hindu.
......Throughout the performance, Leena presented a dynamic and empowered vision of angika movement in Odissi. Each pattern was varied, each bhangi different..
Shani, The Pioneer.
Leena who seemed to have derived her strength of communicative power from pure 'sadhana' could produce the charisma which might have made many seniors to look up at with concern. Leena's thrust on Dasa Mahavidya was a treat for the eyes.
The Eastern Times