Photography by Nigel Norrington, Chris Nash, Kristyna Kashvilli, Roy Campbell Moore

 DANCE REVIEWS

Historically, the best male dancer (open to all forms of dance) has tended to go to a classical performer – ballet on the whole facilitates more flamboyant displays of virtuosity and acting. This year, however, it's Dane Hurst from Rambert who beat off stellar competition from Edward Watson, Vadim Muntagirov and Sergei Polunin, to become one of the very few dancers from a modern company to win this category in the history of the awards. - Judith Mackrell - Guardian 

The cast is home to some heavy hitters, including Dane Hurst, formerly of Rambert, whose aplomb shines through in every dive and extension. An arching, plunging solo of his is not only the best technical phrase of the night but also the most emotionally moving. Sarah Veal - DanceTabs

The company of dancers is well matched, but it is so hard to take the eyes off former Rambert dancer, Dane Hurst. His strength and control, partnered with delicate precision is perfect. He seems to understand precisely what Veldman’s movement is all about. - Jessica Wilson - Seeing Dance

Dane Hurst, in particular, embodies a bounding, inexhaustible joy Luke Jennings - The Observer 

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 SkeochThe Arbuturian

...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

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 

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  

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  

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 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

CHOREOGRAPHY REVIEWS:

Dane Hurst and Company
Exodus

Moving and touching, Exodus was beautifully performed and gave the audience plenty to think about. A breakthrough moment in Hurst's career as a choreographer, I was particularly impressed by the way this work, inspired by the art of the past, also allowed the choreographer to use dance as a commentary on contemporary events. a thoughtful and intelligent creator with a social conscience, I will look at Hurst's future work with great interest.  - Jonathan Grey, Editor Dancing Times 

★★★★✰ This was an unusual and magical event. That’s how I started last year’s reviewand it still holds very true. Unusual because one is so close to the dancers, closer than in any other space I know, and there is such a visceral thrill in seeing dance-honed skin and bone do its thing.- Bruce Marriot - Dancetabs

The plight of refugees is a scar on society’s belief in its own reflex towards improvement; it takes us back to the dark ages, before art, before dance. By reminding us of that in a place where art thrives and matters, Hurst has not only made a terrifically effective dance piece, but also a statement of great humanity. - Sarah Crompton Dulwich Picture Gallery

A new piece of art which emulates and empathises with current social and political worries with such a strong standard of musicianship and choreography is a great achievement, and I look forward to the next collaboration between Appleby and Hurst, who have created a fresh and thought-provoking piece of work. Emily RH Wilson Medium

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

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

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 Cisneros - Bachtrack

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