Tallchief was known for "dazzling audiences with her speed, energy and fire."
She was said to exhibit both "electrifying passion" and great technical ability.
She combined precise footwork with athleticism.
Ashley Wheater, artistic director of the Joffrey Ballet, remarked, "When you watch Tallchief on video, you see that aside from the technical polish there is a burning passion she brought to her dancing.
In her interpretation of Balanchine’s "Firebird," she was consumed both inside and out.
She was not just a great dancer, but a real artist—a true interpreter who brought her personality to bear on the dancing."
According to Time, she was also "a master in the perfect pause, the moment of stillness allowing the audience and the narrative to keep pace with the choreography."

William Mason, director emeritus of the Lyric Opera of Chicago, described Tallchief as "a consummate professional ... She realized who and what she was, but she didn't flaunt it.
She was unpretentious."
Fellow dancer Allegra Kent remarked "She didn’t seem to be frightened of the stage, like some of the others.
She had in iron will inside ... She phrased her curls and extensions as delicately or as strongly as the music itself."
Tallchief was known for "dazzling audiences with her speed, energy and fire." She was said to exhibit both "electrifying passion" and great technical ability. She combined precise footwork with athleticism. Ashley Wheater, artistic director of the Joffrey Ballet, remarked, "When you watch Tallchief on video, you see that aside from the technical polish there is a burning passion she brought to her dancing. In her interpretation of Balanchine’s "Firebird," she was consumed both inside and out. She was not just a great dancer, but a real artist—a true interpreter who brought her personality to bear on the dancing." According to Time, she was also "a master in the perfect pause, the moment of stillness allowing the audience and the narrative to keep pace with the choreography."
William Mason, director emeritus of the Lyric Opera of Chicago, described Tallchief as "a consummate professional ... She realized who and what she was, but she didn't flaunt it. She was unpretentious." Fellow dancer Allegra Kent remarked "She didn’t seem to be frightened of the stage, like some of the others. She had in iron will inside ... She phrased her curls and extensions as delicately or as strongly as the music itself."
Maria Tallchief