Reviews of the Royal Ballet in "Romeo and Juliet."
While Osipova's first scene might strain towards babydoll cuteness, the character's tragedy is subsequently inscribed in the very guts of her dancing. From the ball scene onwards, she makes us feel the extreme precariousness of Juliet's youth, both in the dreamy, defenceless way she lifts her face to drink in the excitement and in the hungry fascination with which she reaches out to touch the beautiful stranger, Romeo.
The New York Times
The success of this version of “Romeo” depends on the force of Juliet’s will: she is not passively poetic. Despite Juliet’s long absences from the stage in Act II, her rebelliousness can seem to carry the whole three-act ballet. The role finds its true climax not in its dance passages with Romeo but in two Act III acting soliloquies of despair. Ms. Osipova was captivating in both vulnerability and ardor.
In the tomb scene, MacMillan’s Romeo can’t accept Juliet’s death, half-carrying, half dragging her through the steps of their earlier duets. Osipova and Acosta are a little careful here, but Acosta dies with touching determination. He tries but fails to keep hold of her hand as the poison hits him.