“Hiten had a serene and calming presence. Clear and clean footwork, a balanced and symmetrical choreography alongside well-rounded theermanams gave a complete feel to the piece. His experimentation for the music of the Meera Bhajan was most intriguing. Longing for Krishna, Meera sees him in all objects around her: a peacock feather, a flute all beautifully depicted. Hiten performed nuanced abhinaya. Using speech as apart of the Meera Bhajan was also a useful addition.”
– Annapoorna Kuppuswamy, Pulse Dance Magazine, London, UK – Feb 2016.
“Hiten Mistry from London did not disappoint, in his technique both informative and expressive he excluded sincerity, honesty and hard work. He made his presence to the melody of raga Kalavati and the poetry of saint-poet Tulsidas in the invocation to Lord Ganesha, ‘Gayiye Ganapathy.’ Hiten eased with confidence into the Nrutyopaharam addressed to Lord Krishna, a composition of Thurayur Rajagopala Sharma, infusing it with the longing of a devotee to be one with the Lord.
The second half showcased his innate potential as a sensitive artist in the moments of piercing intensity depicting Krishna’s childhood. The conclusion with Mand tillana of Lalgudi Jayaraman was executed with precision befitting an artist of immense potential.”
– Anita Shanmuganathan, Narthaki.com, Chennai, India – Dec 2010.
“It occurred to me that if Marcel Marceau had taken up dance instead of mime he would have been in the same frame as Mistry. Hiten Mistry maintained his concentration and discipline, his hand positions always perfect and a body that never seemed weary.”
– Tristam O’Brennin, Dance Dynamic, London, UK – Sept 2010.
“Cherubic and a glint of mischief in his eyes, Hiten brought out a playful innocence to the portrayal of a young Krishna. His depiction of Krishna saving Gajendra from the deathly grip of a Crocodile was executed with the right dose of physical drama and theatrical flair.
His footwork never faltered and he displayed a keen musicality and sense of rhythm. Hiten is a pleasure to watch. His nritta is clean and easeful, his movements economical without being mechanical. In an age were dancers strive for the deepest araimandi (demi plié position of Bharata Natyam) or the most complex theermanam (rhythmic dance unit), it was refreshing to see a dancer who did not sacrifice grace and flow to alter technical precision and speed.
Hiten shows incredible promise as a performer. With dancers like Hiten at the helm the future looks bright indeed.”
– Anusha Kedhar, Pulse Dance Magazine, London, UK – Sept 2010.