Tadeusz Skutnik, Love is the calling, "Polska. Dziennik Bałtycki", 18th May 2009:

"A new page of the history of the Baltic Opera and of Polish ballet must be written in golden print. It will tell about Izadora Weiss’s ballet Romeo and Juliet, after Shakespeare. It is actually modern dance theatre. The ballet plays an important role in the spectacle, but it takes its full importance only as an element of the whole.
(…) Thus, [Izadora Weiss] takes Shakespeare’s tale from Verona to Northern Iraq and so the events take place between the local, traditionally Islamic society – Juliet’s relatives, and soldiers from the stabilizing contingent; Romeo is one of them.
(...) Music [has been] meticulously picked and corelated with the character of what we can see on the stage. And we can see very interesting pictures of fun or horror, happiness or misfortunes and they have to be accompanied by a proper sound track, because for Izadora Weiss music and movement are like breathing, like one body. We thus get to hear a mélange of works of, among others, Lisa Gerrard, Philip Glass, Gustavo Santaolalla, but also the Sergei Prokofiev’s Panava in which Weiss noticed the force fatale and used it in the scene which opens the second act and in which naked Juliet is being yashmak-tried.
(...) The set design, described as multimedia, is a composition of fixed, animated and moving pictures, projected on screens, taking an active part in the story, telling it, adding to it, and even foretelling the plot. In moments, in which it takes place among the Islamic society, the screens fill up with Arabic script; when tradition withers, the script suddenly falls into pieces like mouldy plaster; when a feeling breaks the cultural-religious barriers – the script slowly turns into a picture of nature. Two absolutely brilliant scenes: when, after Tybalt’s and Mercutio’s death a veil covers the screen and everything happens as if in a slow-motion film; after Juliet’s lamentation over Tybalt’s brother’s body even the curtain falls slowly. And the second one, called when Romeo fatally fails to meet the Nurse, when they cross the screen…
It is not only the great creativity of screenplay writers - Radosław Moenert and Paweł Nurkowski – that I can see, but also artistic and choreographic iron discipline of the producer of the show. The choreography of Romeo and Juliet is based on a basic dictionary, speaks a clear, legible Izadora Weiss’s language (...). The spectacle is coherent, touching in uniquely human nature, calling for reason in the superhuman dimension – the cultural and religious one".

Barbara Badyra, Why are Romeo and Juliet still dying?, www.polskalokalna.pl, 21st May 2009:

One could describe the staging as ‘perfect’ but for a few details. During most of the performance, everything that is happening on the stage absorbs the attention of the audience and the time files. Moments, in which beauty, strongly propagated by the choreographer, takes your breath away, occur. These are not only scenes in which soloists participate, but also simple and seemingly plain crowd scenes. Yet, as it is usual for the author, well-thought-though and perfected by a multimedia projection, costumes and music these scenes are well able to charm the audience.
Izadora Weiss uses a variety of different kinds of music in her spectacle – Karl Friedrich Abel, Sergei Prokofiev, Lisa Gerrard, Philip Glass, Gustavo Santaolalla, Silvius Leopold Weiss, Ludwig van Beethoven – and creates a collage which is evidence of her sensitivity and her feeling for musical subtleties.
The author has breached the fames of the tragic love story. Her staging is most of all a tale of the right of an individual to be free (…). The Duet with the father is a surprising element of the story. In their relations there is first the daughter’s fear, next love and affection of both and only at the end a detail – a finger shaken at her, calling her to uncompromising order.
(...) Franciszka Kierc (Juliet) dances with grace and lightness. Observing her one has the impression that she is so absorbed by playing her role that she does not notice the hardships of dancing. Her duets are beautiful – not only with Michał Łabuś (Romeo) but also with Sylwia Kowalska-Borowy (the Nurse) who yet again perfectly presented her role on the stage.
This ballet spectacle would not take such a form if it was not for the other producers: Radosław Moenert and Paweł Nurkowski (multimedia set design) as well as Hanna Szymczak (costumes). The set design is the background for the plot, but also it completes it. It adds to the movement on stage, as in e.g. The first meeting or intensifies the emotions in The wrath of the family. The intensification has been achieved by making the real and the recorded images overlap. The scene in which Romeo fatally fails to meet the Nanny is a real masterpiece – the projection and the movement on the stage fluently turn into each other.
Hanna Szymczak has dotted the i’s an crossed the t’s. Her galabijas – more than in reality – accentuating slim and svelte figures of the dancers are playfully sensual if not sexy, once again proving that it is what is covered that intrigues more and catches the eye more. On the other hand, the licentious, plainly obscene clothing of the skimpily dressed strumpets presents no secret. Generally, both the set design and costumes are dominated by simplicity – well-known to Izadora Weiss – as well as by a great care for detail".

Barbara Kanold, Romeo and Juliet 2009, "Gazeta Wyborcza Trójmiasto", 19th May 2009:

"It was necessary to find a new form of movement for the suggestive, expressive music and this posed a challenge for the choreographer. Weiss tried to use summary and synthesis, new expressiveness of gestures. The entire show is based on modern techniques; even the famous Profokiev’s Pavane, which is rationalized by the multimedia presentation, has found its place in this dance convention (...)The choreographer’s proposition is convincing in the ‘romantic’ sphere of our feelings and experiences, thus above all in suggestively complicated duos, appealing to every member of the audience. The duos danced by the main characters, especially the final scene as well as the duo of Juliet with Tybalt, with her father, and above all with the Nurse, belong to the most expressive in the entire performance".

Ian Palmer, Baltic Dance Theatre. Romeo and Juliet, "Ballet magazine", June 2010:

"Kylian's musicality is something clearly evident in Weiss own choreography, and her musical choices for Romeo and Juliet reveal a broad and eclectic spectrum, intelligently selected to investigate the nature of the tale's tragedy. Having chosen to set the ballet in post-invasion Iraq (it is important for the story to have relevance for each of us today, she explained), the musical pallet was inevitably wider. The scores used for the first act, which charts the blossoming love between Juliet, (a local Iraqi girl), and Romeo, (a soldier with the occupying forces) are Arabian-influenced, music that Weiss explores in choreography that is babbling, lyrical and softly fluid (an early duet for the lovers is especially enchanting) and reminded me a little of Russell Maliphant. The sense is of a pre-Lapsarian world, shattered only by the moment of tragedy at the end of the act when Romeo kills Tybalt. Thereafter the scores are Western: Prokofiev's Dance of the Knights becomes an extraordinarily powerful, sinister dance for hijab-wearing women, who become as avenging Furies over Tybalt's death. As the dramatic tension builds towards the story's conclusion Weiss takes Philip Glass (a score also used by Paul Lightfoot and Sol Leon in their Silent Screen) and then finally Beethoven, who she believes are two of the only composers capable of matching the urgency and the tragedy of the work's conclusion".

Full review