Marina Elana dances a slow burn in a dark velvet dress, her exquisite hand movements offering hypnotic grace in opposition to the steps furiously marking complex beats below.
— Megin Jimenez, NY Theatre Wire
Marina Elana, who has several gorgeous long winding solos, is fair-skinned and petite, dark and direct in her attack, yet soft at the same time.
— Jamuna Chiarini, artslandia
Growing into a dancer of distinction
— Brian Seibert, New York Times
Marina Elana, bailaora natural de San Francisco que parece que “sa criao” en el Tardón del arte que derrama...el momentazo de la noche llega con el tema P’atrás, unas seguiriyas donde cada uno de los componentes de este sugerente proyecto pone su granito de arena, destacando cada uno en su solo, para dar paso al más trabajado de los taconeos de Marina Elana, que sabe aunar con soltura el duende y la vanguardia en su particular estilo.
— ACHTUNG!, Selu Sanchez
Her solo in La Ronde was purely delightful as she moved with confidence and assertiveness like I’ve never seen from her before. First, she danced with guitarist Eugenio Iglesias and it was flirtatious and romantic. Her arms were eloquently seductive. The second part of her dance was with bass guitarist Hamed Traore. I’ve never seen flamenco danced with just a bass guitar and it was terrific. Traore was utterly convincing, thoroughly masterful, and their partnership was lots of fun. I look forward to seeing more from Elana.
— Andrew Blackmore-Dobbyn, Bachtrack
Marina Elana displays concentration and finesse in her dancing as well as unexpected comedy in her role as Ismene, a chatty Valley Girl narrator blithely filing her nails as her sister Antigona leads blinded Oedipus across the stage.
— Eva Yaa Asantewaa, InfiniteBody
Few dancers can match the intensity of Soledad Barrio’s flamenco, but Marina Elana as Ismene takes a good shot at it, following up a devastating monologue in English (“I’m bilingual,” she simpers) in which she bitches about her sister’s self-sacrifice. It is the viciousness of her bile, combined with the cowardice of her position, that makes the tragedy credible, and contemporary. Mean girls rule.
— "Antigona Flamenca," danceviewtimes, Tom Phillips
The trio of younger female dancers ascertain a coy romance to their movement, in particular the confident Marina Elana, with her precise gaze and unfaltering yet impressionistic footwork, which details a seductive yet inviting incarnation of flamenco.
— Wesley Doucette, Broadway World

Noche Flamenca artistic director, Martin Santangelo, and Marina Elana, who plays Ismene talk about their visually arresting adaptation of Sophocles’s Antigone on WNYC: