| | collins-stuttgart-hamburg |
 | | Cranko likes to make choreographic leitmotivs, and the one for Romeo and his pals is a jaunty, impudent step related to the hornpipe but here given a sort of Venetian carnival feel, with wobbling head movements and a nose-thumbing manner. |
| | I have some quibbles with Cranko’s choreography in the dream scene after which Tatiana writes her famous letter, mostly because it resembles too much his Romeo and Juliet, both in overall construction and in the rushing lifts and running partnered jetés of the pas de deux. |
| | Cranko’s Balcony Scene exemplifies his gift for detail that seems true to life, though his preference for expressing l’amour fou with swooping lifts and running partnered grand jetés is rather unimaginative. |
| www.danceview.org /reviews/Europe/stuttgart-hamburg.html (4363 words) |
