The Royal Ballet - Romeo and Juliet

London Dance“Rojo's Her artistry carries to every corner of this vast Opera House...” If you can see just one production that defines the company, then this should be it, and for a Juliet of the most poetic and distinctive eloquence, one to melt even the hardest of hearts, then it must be Tamara Rojo...

The Telegraph“On both nights, corps and orchestra were superb...” There is nothing to choose between the Juliets in the romantic encounters – both are dazzling – but Rojo also brings touches of brilliance to later, superficially un-spectacular moments, that are astonishing...

Financial Times“It has been splendidly re-lit and refreshed...” At the heart of the evening, Tamara Rojo is MacMillan’s Juliet in all her impulsive sensuality and stubborn defiance, and – no less significant – in the ravishing outlines of the dance, curling and flowering within the musical phrase...

The Times“I felt the oppressive march of tragedy stalking our young lovers...” Pennefather’s Romeo is gallant and playful, irresistibly ardent and utterly winning. Not for a minute did I think he wasn’t totally smitten with his Juliet, or that his heart wasn’t on fire for her...

The Stage“Rojo's interpretation of Macmillan’s choreography verges on definitive...” Replacing the magnificent (and injured) Acosta in the role of Romeo, Pennefather fluttered and bandied weakly about the stage, his facial expression flitting between lost and half-hearted, as Rojo flooded every step with heart-wrenching sincerity...

The Independent“Even the marketplace scenes are brisk and lively...” When Juliet realises Romeo is dead, MacMillan gives her a huge reaction: a silent scream, a big sweep of the arms. Rojo pounds her fists on her thighs in an outpouring of grief that isn't far from an adolescent tantrum...

Guardian“Rojo gives an exceptional performance...” Rojo nails down the inevitability of the punishment she will suffer using the increasingly ragged urgency of her body language, defying her family even as she touchingly looks over her shoulder in the hope that someone will stop her...

this is london“It was only Rojo who was psychologically and dramatically plausible...” The boyish camaraderie written into the steps for Romeo, Mercutio and Benvolio failed to convert, while Tamara Rojo's Juliet and Rupert Pennefather's Romeo unevenly conveyed empassioned young love...

Whatsonstage.com“Not yet reviewed”

Ballet.co.uk“Not yet reviewed”