Golden Mask: Romeo and Juliet

In Romeo and Juliet he [Samodurov] unites the quiet authentic intimacy, the endless belief that the body in motion never lies, with the maniacal passion for the purity of the dance. This seems to be the most complicated way of existence for the national ballet, which feels itself most naturally in cothurni. <...> And if the choreographer succeeds in defending this style, it could open a new path for the Russian ballet.
– Anna Galayda, Rossiyskaya Gazeta

Not aspiring to meticulously follow all the twists and turns of the sad Shakespeare’s tale’s plot, having practically departed from using pantomime, letting the dance and plasticity tell the story and express emotions, Samodurov did not sacrifice either the power of feelings, or the play of temperaments and drama. Same as in his other recent works, the choreographer with ingenuity demonstrates that devotion to the St. Petersburg classical school is not an obstacle to modernizing the language.
– Natalia Zvenigorodskaya, Nezavisimaya Gazeta