Photo by Nigel Norrington

                                                                    Photo by Chris Nash

                                                           Photo by Kristyna Kashvili

Photo by Chris Nash











CHOREOGRAPHY REVIEWS:

''Besides being well-danced, as was everything on show, "The Window" is well-structured and has a great sense of time and space. It is certainly on a par with some of the offerings on recent main company programmes and deserves to be seen by more than just those present at this one-off evening''.  

David Mead - Ballet - Dance Magazine, 31 May 2012

''Most thematically ambitious and sophisticatedly realised, Hurst weaves an emotionally complex but structurally tight story which swells effectively in a striking interrogation sequence and a wrenching ensemble section that pulsates around a kitchen table''. 

Sarah WilkinsonThe Stage Reviews, 7 June 2012

"Dane Hurst's piece, Reminiscence, was a dark piece which focused on memories in which betrayal, pain, love and confusion were all prominent. The choreography had a Dick Tracy eloquence that demonstrated a level of sophistication. Reminiscence's gangster feel was enhanced by a red carpet, men wearing pin-striped clothing and flapper-esque dresses on the women. The live trumpet, played by Laura Jurd, gave it a roaring twenties feel, which added to the tension and coarse dynamic between the dancers. The chemistry between the five individuals made the piece spectacular. The choreography, at times seductive and lyrical, with duets that reminded me of Tango, was stellar."

Rosamaria Kostic CisnerosBachtrack, 20 Dec 2013

"The second seam of gold was Dane Hurst's O'dabo (which means 'until I return again'  in Yoruba) inspired by Nelson Mandela (and his experience of solitary confinement) . Hurst himself dances the piece, a creation of huge emotional power and virtuoso technique. With his muscular, rounded body, he produced one of the most stunning openings to a dance sequence that I have ever seen. Like early man, he arose from the desert floor, shook the sand from his loins and discovered light. "

Shelly Pinto-Duschinsky - Bachtrack, 17 Dec 2014

 DANCE REVIEWS

''Dane Hurst, in particular, embodies a bounding, inexhaustible joy''

Luke Jennings - The Observer 20 Nov 2011

"Keep an eye out, though, for the stunning virtuosic solo's from Dane Hurst, whose spring-loaded jumps are so remarkable, they almost defy belief.

Charlotte Skeoch - The Arbuturian, 17 Nov 2011

''...this Faun has an entrancing intimacy. Dane Hurst in the title role does vivid justice to the choreography's experimental angularity, but even better is his shy, sensual responsiveness.''

Judith Makrell - The Guardian 16 May 2012

''the role of the faun itself was a tour de force for Dane Hurst: every pose and gesture rang true against the evocative imagery of Adolf de Meyer's superb photographs of the Ballet Russes' dancers.''

Graham Watts - londondance.com 16 May 2012

''when a role has been made famous by Vaslav Nijinsky, you don't just let just anyone get their hands on it... a dancer who compels the eye almost as much as Nijinsky must have done. Watching Hurst move like a human statue...there was a definite sense of living history.'' 

Kelly Apter - The Scotsman  16 February 2012

"The first, Dutiful Ducks, was a solo performed by Rambert veteran Dane Hurst. Followers of Rambert will know that Hurst is a force to be reckoned with - a beautiful, lithe and accomplished dancer whose elevation and fluidity is a joy to watch. Watching Hurst light up the stage single-handedly, albeit briefly, went some way to showing why Rambert are at the top of their game.

Natalie Xenos - CultureFly  27 Feb 2014

"The only element to make any lasting impression is "Air", a clever exploration for four men of the boundaries between contemporary and ballet technique through contrasts of walking and leaping, in which Dane Hurst makes sparkling work of Childs’s nifty interrupted/counter-intuitive turns."

Hannah Weibye - The Artsdesk 21 May 2014

"Dane Hurst’s O’dabo, which ended the evening on a high note, seemed to have been influenced by Meryl Tankard’s The Oracle (2013): its staging and its presentation of the male body in crisis. The dancer is first seen from behind and at a distance. His bowed, almost hulking back, whitened with powder, is the body made strange. As a dancer, the now thirty-year-old Dane Hurst would seem naturally to be a creature of the air. O’dabo pits this against earthbound trembling and shudders, robotic gestures, and running on the spot. Over the course of the piece, the powder is partly shaken off to reveal the dancer’s darker skin underneath. It was a dance that the audience surged forward to applaud."

John O'Dwyer - Seen and Heard International, 19 Dec 2014